Complete Open Score Collection by Jordan Nobles

Open Score Collection 25 works for open instrumentation

Jordan Nobles

Open Score Collection

25 compositions for open instrumentation Jordan Nobles Notes about the Open Score Collection The Open Score Collection is a 20 year retrospective of experimental compositions for open, or non-fixed, instrumentation -

It is permitted to photocopy each piece for performance parts. Actual separate pdfs can also be downloaded from www.jordannobles.com

A conductor is not necessarily required for any of the pieces.

Each piece can be played spatially with the musicians surrounding the audience if desired, with the exception of Rosetta Stone, Temporal Waves, Pulses, On a mote of dust suspended in a sunbeam and Ostinati as they have rhythmic requirements which would be more difficult to perform if spatialized.

Most of the pieces can be for mixed ensembles (clarinet, cello, piano, percussion, guitar, etc.) or for ensembles made up of one type of instrument (flute choir, guitar ensemble, etc.). The exceptions being... Rosetta Stone (for 3 similar instruments i.e. 3 guitars, 3 marimbas, 3 harps, etc.) Temporal Waves (for 4 of piano, harp, guitar, marimba, vibe or any combination) Parallel II (for any attack decay instruments)

A minimum of at least 4 players should be used for most of the pieces The exceptions being... Nocturne (which can be performed by just 1 or more) Museum Pieces (which can be performed by just 1 or more) Rosetta Stone (for 3 similar instruments i.e. 3 guitars, 3 marimbas, 3 harps, string trio, etc.)

Audio Sam ples -

Audio excerpts of live performances for each of the pieces in the open score collection can be listened to at www.jordannobles.com

Open Score Collection ÂŠ Jordan Nobles www.jordannobles.com

Open Score Collection

25 compositions for open instrumentation Jordan Nobles Title 1)

Rosetta Stone

(2016)

Duration

PDF Page #

4-6 minutes

PAGE 6

Premiered by Nicholas Papador, Greg Samek, and Justin Skalaa - September 27, 2016 Open score for trio of similar instruments - June 2016

Circle of Fifths

(2016)

variable duration

PAGE 19

Open score for large ensemble in twelve parts - May 2016 * Winner of the Unbound Flute Festival Composition Competition 2016 (Brisbane, Australia) * Premiered at the Unbound Flute Festival, Brisbane, Australia - July 3, 2016

M öbius

(2015)

variable duration

PAGE 21

Commissioned and premiered by the Blueridge International Chamber Music Festival - July 2015 - parts in C (treble, alto & bass clefs), Bb, Eb, F and G

Equilibrium

(2015)

variable duration

PAGE 37

Premiered by Vancouver Symphony Orchestra, conducted by Gordon Gerrard - April 24, 2016 * Released on the CD “Surface Tension” by the Ethos Collective (Vancouver) - Spring 2017 - main score has parts for most common instruments

Chiaroscuro

(2014)

6-10 minutes

PAGE 42

Commissioned and premiered by Vancouver New Music, conducted by Giorgio Magnanensi - March 22, 2014 - individual parts for most common instruments

Nocturne

(2013)

variable duration

PAGE 56

Premiered by the Vertical Orchestra 2013 - August 7, 2013 * Released on the CD “Surface Tension” by the Ethos Collective (Vancouver) - Spring 2017 - parts in C (treble, alto, tenor and bass clefs), Bb, Eb, F and G

M useum Pieces

(2012)

2-8 minutes

PAGE 74

Commissioned by the North Shore Branch of the British Columbia Registered Teachers Music Association and premiered at Canada Music Week - November 18, 2012. - independent solos to be performed simultaneously; - pieces available for low piano, high piano, voice and piano, flute, clarinet, vibraphone, violin, and cello (or viola)

Quickening

(2012)

3-6 minutes

PAGE 90

variable duration

PAGE 99

variable duration

PAGE 108

variable duration

PAGE 117

variable duration

PAGE 127

Premiered by the Aventa Ensemble, Bill Linwood, director - December 4, 2012 * Released on the CD “Surface Tension” by the Ethos Collective (Vancouver) - parts in C (treble, alto and bass clefs), Bb, Eb, F, and G

Surface Tension

(2012)

10)

Rogue W aves

(2012)

11)

on a m ote of dust suspended in a sunbeam

(2012)

Commissioned and premiered by the Ethos Collective - September 15, 2012 * Released on the CD “Surface Tension” by the Ethos Collective (Vancouver) - parts in C in treble and bass clefs

12)

LaGrange Point

(2012)

Commissioned and premiered by the Turning Point Ensemble - June 21, 2012 * Released on the CD “Surface Tension” by the Ethos Collective (Vancouver) - parts for various instruments (other instrumental parts forthcoming, contact the composer for more info)

Open Score Collection © Jordan Nobles www.jordannobles.com

Title 13)

14)

Spin

(2012)

Duration

PDF Page #

variable duration

PAGE 148

8 minutes

PAGE 162

Premiered by Fringe Percussion and guests - January 20, 2012 - scores in C (treble, alto and bass clefs), Bb, Eb, and F

Still Life

(2006, rev. 2012)

Premiered by the Vertical Orchestra - Vancouver Convention Centre - March 20, 2012 * Winner of the VBC National Composition Competition 2007 (Vancouver) * Selected to represent Canada at the International Society for Contemporary Music’s 2011 World Music Days in Sweden - for 8 or more melodic instruments - score and parts in C (other keys available upon request)

15)

æ ther (2011)

variable duration

PAGE 196

variable duration

PAGE 206

Premiered by The Thin Edge New Music Collective - October 6, 2012 - scores in C (treble, alto, and bass clefs), Bb, Eb, F and G

16)

Foreign Lands

(2011)

Premiered by Negative Zed Ensemble and Contact Contemporary Music - April 5, 2011 * Released on the CD “Surface Tension” by the Ethos Collective (Vancouver) - scores in C (treble, alto and bass clefs), Bb, Eb, G, and A

17)

Sim ulacrum

(2010)

3-12 minutes

PAGE 214

Premiered by 6 different ensembles in different cities across Canada - May 15, 2010 * Nominated as ‘Classical Composition of the year’ at the 2012 Western Canadian Music Awards * Awarded 2nd prize at the International Soli fan tutti Kompositionspreis in Darmstadt, Germany - May 2011 * Released on the CD “Undercurrents” by Contact Contemporary Music (Toronto) * Released on the CD “…ohme zu wissen warum!?” by Soli Fan Tutti (Darmstadt) - scores in C (treble, bass and alto clefs), Bb, Eb, and F

18)

19)

Grace

(2009)

variable duration

PAGE 240

Commissioned and premiered by Ensemble Mujirushi - Ghent, Belgium, November 18, 2009 * Released on the CD “Undercurrents” by Contact Contemporary Music (Toronto) - scores in C (treble, bass and alto clefs), Bb, Eb, F, and G

Ostinati

(2009)

variable duration

PAGE 249

Premiered by Motion Ensemble - October 17, 2009 * Released on the CD “Undercurrents” by Contact Contemporary Music (Toronto) - scores in C (treble and bass clefs), Bb, Eb, F, and G

20)

Undercurrents

(2008)

3-9 minutes

PAGE 258

Commissioned and premiered by Contact Contemporary Music - June 15, 2008 * Released on the CD “Undercurrents” by Contact Contemporary Music (Toronto) - scores in C (treble, bass and alto clefs), Bb, Eb, and G

21)

Stasis

(2007)

variable duration

PAGE 278

Premiered by the Vancouver Miniaturist Ensemble - December 10, 2007 * Released on the CD “Undercurrents” by Contact Contemporary Music (Toronto) - scores in C and C 8va (for guitars and basses), Bb, Bb 8va (for bass clarinet), Eb, and F

22)

Tem poral W aves

(2001)

8 minutes

PAGE 285

Premiered by 4 Gallon Drum at the Sonic Boom Festival - March 13, 2004 for 4 instruments: suitable for guitars, pianos, harps, marimbas, vibraphones or any combination. * Released on the CD “Undercurrents” by Contact Contemporary Music (Toronto) - score in C

23)

Pulses

(1999)

10 minutes

PAGE 292

9 minutes

PAGE 305

Commissioned and premiered by the Motion Ensemble - April 17, 1999 - scores in C (treble, bass and alto clefs), Bb, Eb, and F

24)

Parallel II

(1997)

Premiered by Ensemble Symposium - November 7, 1997 - for any number of attack/decay instruments (i.e guitars, pianos, harps, glockenspiel, vibraphones, celesta, etc.) and performers humming (which may or may not be the above performers) - score in C

25)

Quaver

(1997)

8 minutes

Premiered by Ensemble Symposium - January 23, 1997 - scores in C (treble, bass and alto clefs), Bb, Eb, and F

Open Score Collection © Jordan Nobles www.jordannobles.com

PAGE 309

Open Score Collection

25 compositions for open instrumentation Jordan Nobles

BIOGRAPHY Jordan Nobles creates music filled with an “unearthly beauty” (Mondomagazine) that makes listeners want to “close (their) eyes and transcend” (Discorder Magazine). His piece Simulacrum was nominated as ‘Classical Composition of the Year’ at the Western Canadian Music Awards. Jordan was the International Winner of numerous competitions including the Polyphonos Choir Composition Competition (Seattle), the VBC National Composition Competition (Vancouver), the Sacra/Profana International Composition Competition (San Diego), and was named the ‘2009 Emerging Artist in Music’ at the Mayor's Arts Awards (Vancouver). He continues to receive many National International performances and commissions.

and

His music has been selected for the UNESCO International Music Council’s International Rostrum of Composers in Portugal (2013), and the International Society for Contemporary Music’s ‘World Music Days’ in Poland (2014) and Sweden (2009). Jordan has written over one hundred works for various ensembles, from solo works to orchestras, and his music has been performed throughout the World. He is especially fond of writing pieces of a spatial nature and for open instrumentation. “…breathtakingly beautiful sounds.” The Daily Gleaner - Fredericton, NB “…an experience of profound emotion.” Kitchener Waterloo Record - Kitchener, ON “Technically, there was no other word for it than that much overused modifier awesome.” Georgia Straight - Vancouver, BC “It was a huge success...The audience was in trance and we got a standing ovation in the middle of the concert!!!!” Michael Zaugg, conductor, Choeur Saint-Laurent, Montréal, QC

“..the most devastating work I’ve heard in a long time. It comes at you in ripples of heart-breaking melancholy that you only gradually acknowledge as such—you find yourself sad, then sadder, than closer to tears, then struggling not to sob, and not really knowing why. I was crushed by it…” Definitely the Opera, Toronto, ON

Open Score Collection © Jordan Nobles www.jordannobles.com

Rosetta Stone open score for trio

Dedicated to John Cage

Jordan Nobles

Rosetta Stone open score for trio Jordan Nobles Dedicated to John Cage

DETAILS: Rosetta Stone was completed in June 2016 in North Vancouver, BC.

PROGRAMME NOTES Rosetta Stone was inspired by the ancient black granite stele inscribed with a decree from King Ptolemy I in three different scripts. It is essentially the same text, with only minor differences, written out in three different languages. Since some of the stone was missing and the text incomplete, it took a few decades to decipher, but eventually the stone provided the key to an understanding of Egyptian hieroglyphs. I’ve written numerous pieces with all of the harmonies and melodies composed but a great deal of flexibility offered to the performers with respect to the rhythms and exactly when to play the given harmonic material. With Rosetta Stone I set about to reverse that and to prescribe exact rhythms but leave the pitches free to be spontaneously decided during performance (much like in Louis Andriessen’s Worker’s Union, or many of the aleatoric works of John Cage). Similar to the actual Rosetta Stone, the three performers have essentially the same material, in the form of an almost perfect canon, but they each choose, in the moment, their own ‘language’. It is dedicated to John Cage, who provided the key to so many new areas of exploration. DURATION: The duration of Rosetta Stone is variable. Certain sections (A, B, D, F, etc.) can be repeatedly as many times as desired therefore leaving the duration of performance anywhere from 3 or 4 minutes to somewhat longer. Also a Section or Sections can even be skipped entirely if desired. PERFORMANCE NOTES: INSTRUMENTS: Rosetta Stone is designed to be played by 3 SIMILAR instruments i.e. 3 marimbas (or 3 players on one marimbas), 3 guitars, 3 pianos, string trio, harp trio, or 3 players performing on wine glasses, untuned metal bars, or other resonant objects. It can be different with each performance. SECTIONS: All sections are 6 or 12 measure patterns and can be repeated or ignored to suit the performance, depending on preference/duration, etc.. For instance, one performance can just include Section A & B for 5 minutes and nothing else RHYTHMS: j j j œ œ œ œ œ™ œ™ œ œ œ The rhythms are all based on a three measure pattern œ ™ which, when in canon, provides an interlocking rhythm, and the key to understanding the piece.

j œ œ™

PITCHES: Performers can choose to be completely aleatoric with the pitches or they can decide ahead of time on a certain pitch set before each performance if they wish. For instance, they can decide to choose any scale or chord and stick to only those notes for the whole performance. Some suggestions for pitch material: - C.A.G.E. just using those notes (i.e. an Am7 or C6 chord), in honour of John Cage - Whole Tone (C, D, E, F#, G#, Bb) or switch back and forth between both whole tone scales - Symmetrical Augmented Scale (C, D#, E, G, Ab, B) - Black Notes (i.e. F#, G#, A#, C#, D#) - White Notes (i.e. A, B, C, D, E, F, G) or switch back and forth between white and black - Open Strings and Natural Harmonics (i.e. for string trio or guitar trio where they limit the notes to only open strings and natural harmonics, played pizzicato, possibly even a different open string for each section - Minor Harmonic (C, D, Eb, F, G, Ab, B) - Chromatic (i.e. any chromatic note) - Microtonal - Non-pitched (any object or instrument part that doesn't make a recognizable pitch such as wood, tuned or untuned wine glasses, or resonant metal objects, as long as there are enough different colours to change tone frequently) - Variable (i.e. changing at each new section or even each performer choosing their own pitch set ‘language’) Rosetta Stone © Jordan Nobles, North Vancouver, June 2016 www.jordannobles.com

For example: Section B could sound like this (if 3 vibraphones played C harmonic minor) Vib.

Vib.

>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & > > & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b>œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ >

Section E could sound like this (if 3 glockenspiel played a C Symmetrical Augmented scale) Glock.

#>œ ™ œ œ œ ˙ ™™ J

& ‰ œ™ ˙ > j Glock. & Œ bœ œ œ™ > Glock.

>œ œ J

‰ >œ ™

˙ ˙™

Œ™

w œ >

j œ œ™

Ó Œ

j #œ ˙ >

œ >

j œ œ™ >

œ ˙ > > œ˙ ™ œ J

b >˙

j œ œ™

Section F could sound like this (if a string trio played Open Strings and Harmonics)

o o >œ™ œ œ œo J & pizz.

Vln.

o >o ™ B œ œ™ œ J pizz.

Vla.

? œ œ œ œ™ J pizz.

Vc.

>œo ™

o œ œ™ J

j j œ™ œ œ œ œ œ™ > œo œo œo œ œo ™ j J J œ™ œ œ œ > o o >œ™ œ œ œo J

o œ œ™ J

œo œ œo J

j œ œ™

>œo ™

j j œ œ œ œ œ™

™ >œ

Section I could sound like this (if 3 marimbas played on black notes only) Mar.

> & #œ ™

œ œ #>œ ™ œ œ #œ ™ #œ ™ œ œ œ J J >

j j Mar. & œ #œ ™ #œ ™ œ œ œ œ #œ œ œ ™ > Mar.

#œ

j œ œ œ™

#>œ ™

#œ œ œ ™ J

#œ ™ œ œ œ œ >

j œ œ # œ ™ œ œj # œ ™ >

#>œ

œ ™ œj œ œ > ˙

™ >œ

j œ œ #>œ

Hp.

#œ œ bœ œ œ ™ J bœ ™ bœ J œ™ œj œ b œ œj J bœ™ #œ ™ œ œ bœ™ œ œ bœ™ œ™ ™ œ J œ™ j j œ j bœ ™ œ œ J œ œ j & J œ œ œ™ bœ œ bœ™ b œ ™ œ™ œ œ œ œ J œœ b œ œ b œ œ & J J œ J bœ™ bœ™ j J œ™ œ #œ œ œ & œ™ œJ œ

j œ

j #œ ™ œ œ œ >

j œ #œ ™ #œ ™ œ œ œ >

Section K could sound like this (if 3 harps played a Whole Tone Scale C,D,E,F#,Gb,Ab,Bb)

œ J bœ ™

Rosetta Stone © Jordan Nobles, North Vancouver, June 2016 www.jordannobles.com

œ™

etc.

> œ #œ ™ #œ ™ œ œ œ œ #œ œJ œ ™ J

#>œ ™

etc.

œ œo ™ J

#>œ ™ œ œ œ œ #œ œ œ™ J

j #>œ ™ œ œ œ œ #>œ œ œ™

j œ œ™

>œ™ œ œ œ œ œ™ J J o o o œo œ œo œ œo ™ >œ™ œJ œ œ J J o >œo ™ œo œ œo œ œo ™ >œ ™ œo J J J

#>œ ™ œ œ œ œ #>œ

œ #œ ™ J

bœ œ >

etc.

b œ œ œ™ J j œ œ œ

j j œ™ bœ œ bœ™

etc.

Dedicated to John Cage

Rosetta Stone open score for trio Jordan Nobles

q=120 or faster Part 1

4 pulse on any single pitch / 4 œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ pp mp

pulse on any single pitch

Part 2

4 /4

>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑

∑ pp mp

pulse on any single pitch

Part 3

4 /4

>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑

∑

∑ pp

A Change tone on every accent (continuing pulsing on the new pitch) 2-4X / °™™ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ü

Change tone on every accent (continuing pulsing on the new pitch) >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / ™

/ ¢™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ †

Change tone on every accent (continuing pulsing on the new pitch)

B 2-4X / °™™ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ü

/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ ™™

/ ¢™™ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ †

C / >œ ™

œœ œ J

œ œ™ J

œ™

œ œ œ œ œ™ J J

>œ ™

œœ œ J

œ œ™ J

œ™

œ œ œ œ œ™ J J

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ ™ œJ œ œ mf

/ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ ™ mf

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

œœ œ J

œ œ™ J

œ™ œ J

D Continuing changing tone on every accent (twice per system) / °™™ >œ ™ œJ œ œ œJ œ ™ œ ™ œJ œ œ œJ œ ™

4-8X

>œ ™

œ œ™ J

œœ œ J

œ™

™™ ü

œ œ œ œ œ™ J J

Continuing changing tone on every accent (twice per system)

/ ™™ œJ œ ™

œ™

>œ ™

œ œ œ œ œ™ J J

œ œ™ J

œœ œ J

œ™

>œ ™

œ œ œ œ œ™ J J

™™

œœ œ J

Continuing changing tone on every accent (twice per system)

>œ ™

/ ¢™™ œ œ œJ œ ™

œ œ™ J

œœ œ J

œ™

œ œ œ œ œ™ J J

>œ ™

œœ œ J

œ œ™ J

œ™

œ ™™ † J

œ >œ

œ œ™ J

œ™

>œ œ J

>œ ˙ J

>œ ™

E 31

/ >œ ™

œ œ J

Œ™

>œ œ J

˙ ™™

œ ˙

>œ ˙ J

œ >œ ™ J

/ œJ >œ ™

>œ œ œ ™ J

˙™

‰ >œ ™

>˙

>œ

/ œ

>œ

œ œ™ J

Œ >œ œ œ ™ J

œ™

œ J

F Continuing changing tone on every accent (four times per system) / °™™ >œ ™ œJ œ œ œJ œ ™ >œ ™ œJ œ œ œJ œ ™ >œ ™

4-8X

>œ ™

œ œ™ J

œœ œ J

œ œ œ œ œ™ J J

™™ ü

Continuing changing tone on every accent (four times per system)

>œ ™

/ ™™ œJ œ ™

œ œ œ œ œ™ J J

>œ ™

œ œ™ J

œœ œ J

>œ ™

œ œ œ œ œ™ J J

œœ œ J

™™

Continuing changing tone on every accent (four times per system)

>œ ™

/ ¢™™ œ œ œJ œ ™

œœ œ J

œ œ™ J

>œ ™

œ œ œ œ œ™ J J

>œ ™

œœ œ J

œ >œ ™ J

œ™

œ œ™ J

G / >œ ™

œ œ J

>œ œ J

˙ ™™

Œ™ œ ˙

>œ ˙ J

œ w J

/ œJ >œ ™

>œ œ œ ™ J

˙™

‰ >œ ™

>˙

>œ œ œ ™ J

/ œ

>œ

œ œ™ J

Œ >œ œ œ ™ J

œ™

>œ œ J

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

>œ ™

œ ™™ † J

H Continuing changing tone on every accent (multiple times per system) > >œ ™ œ œ / °™™ >œ ™ œJ œ œ œJ œ ™ >œ ™ œ œ œ œ œ œJ œ ™ J

4-8X

™™ ü

œ œ ™ >œ ™ œ œ œ œ œ œ œ ™ J J

Continuing changing tone on every accent (multiple times per system)

/ ™™ œJ œ ™ >œ ™ œ œ œ œ œ œJ œ ™

œ œ >œ J

>œ ™

œ œ ™ >œ ™ œ œ œ œ œ œ œ ™ J J

>œ ™

œ ™™

œ œ J

Continuing changing tone on every accent (multiple times per system)

/ ¢™™ œ œ œJ œ ™

>œ ™ œ œ J

>œ ™ œ œ œ œ œ œ œ ™ J

œ œ™ J

>œ

>œ ™ œ œ J

>œ ™ œ œ œ ™™ †

œ œ™ J

I Continuing changing tone on every accent (multiple times per system) °> >œ ™ œ œ œ ™ >œ ™ œ œ œ œ œ œ / ™™ œ ™ J J

>œ

>œ ™ œ œ œ œ

œ œ™ J

Continuing changing tone on every accent (multiple times per system)

>œ ™ œ œ œ

/ ™™ œJ œ ™

>œ

>œ ™ œ œ œ œ

œ œ™ J

>œ ™ œ œ œ

œ œ™ J

Continuing changing tone on every accent (multiple times per system)

/ ¢™™ œ

>œ ™

œ œ™ J

>œ ™ œ œ œ ™ J

œ œ J

>œ

>œ ™ œ œ œ œ

œ œ™ J

/ œJ œ ™

/ œ

/ >œ ™

>œ

>œ ™ œ œ œ œ

>œ ™

œ œ™ J œ œ J

>œ

œ œ™ J

>œ ™

œ œ™ J >œ

œ œ J

>œ ™

œ œ™ J >œ

>œ ™ œ œ œ œ

>œ

œ œ J

>œ ™ œ œ œ

œ™

œ J

œ œ œ œ >œ ™ œ ™ œ œ œ ™ J >œ ™

œ œ™ J

œ œ J

4-8X 63

/ œ

/ >œ ™

/ œJ œ ™

>œ ™ œ œ œ œ

œ œ J

>œ ™ œ œ œ œ

>œ ™ œ œ œ ™ J

>œ ™ œ œ œ

>œ

œ œ™ J

>œ ™ œ œ œ œ >œ ™

>œ ™ œ œ œ œ

>œ ™

>œ ™ œ œ œ œ

>œ ™

œ™ œ œ œ™ J œœ œ œ

>œ

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

œ œ™ J

œ œ™ J œ œ J

™™ ü >œ ™ œ ™™

>œ ™ œ œ œ ™™ †

J CHANGE tone now on EVERY SINGLE NOTE

/ œ™

œ œ J

Œ™

˙ ™™

œ œ J

œ ˙

œ œ™ J

œ ˙ J

œ œ™ J

œ œ

œ™

œ œ J

œ ˙ J

œ™

CHANGE tone now on EVERY SINGLE NOTE

/ œJ œ ™

‰ œ™

CHANGE tone now on EVERY SINGLE NOTE

œ œ œ™ J

/ œ

˙™

œ œ™ J

Œ œ œ œ™ J

œ™

œ J

K / °™™ œ ™

8-12X

CHANGE tone on EVERY SINGLE NOTE

œœ œ J

œ œ™ J

œ™

œ œ œ œ œ™ J J

œ™

œ œ™ J

œœ œ J

œ™

™™ ü

œ œ œ œ œ™ J J

CHANGE tone on EVERY SINGLE NOTE

/ ™™ œJ œ ™

œ™

œ œ œ œ œ™ J J

œ™

œ œ™ J

œœ œ J

œ™

œ œ œ œ œ™ J J

œ™

™™

œœ œ J

CHANGE tone on EVERY SINGLE NOTE

/ ¢™™ œ œ œJ œ ™

œ™ œ œ œ J

œ œ™ J

œ™

œ œ œ œ œ™ J J

œ™ œ œ œ J

œ œ™ J

œ™

˙™

œ ™™ † J

L 79 Continuing changing tone on every single note, while slowly fading out

/ ˙™

œ œ™ J

œ™

œ œ œ™ J

œ œ J

˙™

œ œ œ™ J

Continuing changing tone on every single note, while slowly fading out

/ œJ œ ™

œ™

œ œ œ œ œ™ J J

˙™

œ œ™ J

œ ˙™

˙™

Continuing changing tone on every single note, while slowly fading out

/ œ œ œJ œ ™

˙™

œ œ™ J

œ™

œ œ J

œ œ œ™ J

˙™

œ œ œ™ J

/ ˙™

œ œ™ J

˙™

œ ˙™

ppp pp

/ ˙

˙™

œ ˙™

˙™

ppp pp

/ œ

œ œ œ™ J

˙™

œ œ™ J

˙™

˙ ppp

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

open score for trio

Rosetta Stone Jordan Nobles

Change tone on every accent (continuing pulsing on the new pitch)

2-4X

/ >œ ™

œ œ™ J

œ™

œ œ œ œ œ™ J J

œ œ J

œ œ œ J ˙ ™™

œ œ™ J

œ™

>œ J œ

œ œ J

œ œ œ J

˙ ™™

œ œ™ J

>œ ™

Œ™

>œ ™

>œ ˙ J

œ œ œ J

>œ ˙ J

œ œ œ J

œ œ™ J

œ™

>œ ™

œ™

œ >œ ™ J

œ œ™ J

œ >œ ™ J

œ œ™ J

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

>œ J

œ œ œ œ œ™ J J

Continuing changing tone on every accent (four times per system)

/° ¢™™ >œ ™

/ >œ ™

œ œ œ J

Continuing changing tone on every accent (twice per system)

/° ¢™™ >œ ™

/ >œ ™

>œ

œ œ™ J

œ™

œ J

œ œ œ œ œ™ J J

™™ ü†

4-8X

™™ ü†

4-8X

/° ¢™™ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ü†

/° ¢™™ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ü†

q=120 or faster

Dedicated to John Cage

on any single pitch 4 pulse œ œ œœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ /4

Part 1

˙ ™™

œ œ œ J

œ œ™ J

œ™

œ J

˙™

œ œ™ J

œ œ™ J ˙

œ™

>œ

˙™

œ™

˙™

œ œ œ J

œ ˙ J

œ œ™ J

œ™

ppp

˙™

™™ ü†

8-12X

œ œ™ J

4-8X

™™ ü†

4-8X

>œ ™ œ œ œ

>œ

œ œ œ œ œ™ J J

˙™

œ œ™ J

>œ ™ œ œ œ

>œ

>œ ™ œ œ œ œ

œ œ ™ >œ ™ œ œ œ œ œ œ œ ™ J J

œ œ™ J

œ œ J

œ œ œ J

œ œ™ J

>œ ™

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

œ J

Œ™

œ œ™ J

œ œ œ œ œ™ J J

>œ ™ œ œ œ œ

>œ ™ œ œ œ

Continuing changing tone on every single note, while slowly fading out

/ ˙™

œ œ J

CHANGE tone on EVERY SINGLE NOTE

/° ¢™™ œ ™

>œ ™ œ œ œ œ

>œ ™ œ œ œ ™ J

>œ ™ œ œ œ

œ œ J

CHANGE tone now on EVERY SINGLE NOTE

/ œ™

/ œ

/ œJ œ ™

œ œ ™ >œ ™ œ œ œ œ œ œ œ ™ J J

Continuing changing tone on every accent (multiple times per system)

/° ¢™™ >œ ™

œ œ >œ J

Continuing changing tone on every accent (multiple times per system)

/° ¢™™ >œ ™

∑ œ œ œ œ œ œ œ œ

∑

œ œ œ œ œ œ œ œ

Part 1

q=120 or faster

Jordan Nobles

pp mp

> / œJ œ ™

‰ >œ ™

œ œ œ œ œ™ J J mf

>œ ™

œ œ œ J

>œ ™

œ œ œ J

œ œ™ J

œ œ™ J >˙

>˙

>œ ™

œ™

>œ

>œ ™

œ™

>œ ™

œ œ™ J

œ œ œ œ œ™ J J

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

‰ >œ ™

œ œ œ œ œ™ J J

Continuing changing tone on every accent (four times per system)

/° ¢™™ œJ œ ™

/ œJ >œ ™

œ™

Continuing changing tone on every accent (twice per system)

/° ¢™™ œJ œ ™

™™ ü†

4-8X

™™ ü†

4-8X

œ œ œ J

>œ œ J

œ œ œ J

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ ™ œJ œ œ

™™ ü†

2-4X

/° ¢™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ

™™ ü†

2-4X

>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

pulse on any single pitch

open score for trio

Rosetta Stone

Change tone on every accent (continuing pulsing on the new pitch) ° ™ / ¢™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

4 /4

Part 2

Dedicated to John Cage

‰ œ™

œ™

œ œ œ œ œ™ J J

>œ

œ œ™ J

œ™

œ J ˙™

˙™

˙ pp

œ™

œ œ™ J

˙™

œ œ œ ™™ ü† J

>œ ™

˙™

ppp

œ™

™™ ü†

8-12X

œ œ œ J

4-8X

>œ ™ œ ™™ ü†

œ œ J

˙™

œ œ J

œ™

4-8X

>œ ™ œ œ œ

>œ ™

œ >œ ™ œ ™ œ œ œ ™ J

œ œ™ J

œ œ œ œ œ™ J J

œ >œ ™ œ ™ œ œ œ ™ J

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

˙™

œ œ™ J

>œ

>œ ™ œ œ œ

>œ ™ œ œ œ œ

œ œ ™ >œ ™ œ œ œ œ œ œ œ ™ J J

œ œ™ J

œ œ œ J

>œ ™ œ œ œ

œ œ J

Continuing changing tone on every single note, while slowly fading out

œ œ™ J

/ ˙

CHANGE tone on EVERY SINGLE NOTE

/° ¢™™ œJ œ ™

œ œ J

>œ ™

>œ ™ œ œ œ ™ J

œ œ™ J

CHANGE tone now on EVERY SINGLE NOTE

>œ

/ œJ œ ™

/ >œ ™

/ œ

>œ ™ œ œ œ

Continuing changing tone on every accent (multiple times per system)

/° ¢™™ œJ œ ™

>œ ™

œ œ >œ J

Continuing changing tone on every accent (multiple times per system)

/° ¢™™ œJ œ ™ >œ ™ œ œ œ œ œ œJ œ ™

∑ œ œ œ œ œ œ œ œ mp

∑

œ œ œ œ œ œ œ œ

Part 1

q=120 or faster

∑ pp

œ œ œ œ œ œ œ œ

Part 2

∑ mp

2-4X

œ œ™ J

/ œ

˙™

>œ

œ œ œ J œ œ™ J

œ œ™ J

>œ

œ œ™ J

>œ ™

˙™

œ œ™ J

>œ ™

œ™

>œ

œ œ™ J

>œ

œ œ™ J

œ œ œ œ œ™ J J

>œ ™

œ™

>œ ™

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

>œ

œ œ œ J

Continuing changing tone on every accent (four times per system)

>œ

/° ¢™™ œ œ œJ œ ™

/ œ

>œ ™

Continuing changing tone on every accent (twice per system)

/° ¢™™ œ œ œJ œ ™

œ™

>œ œ J

œ œ œ J

>œ ˙ J

œ œ œ J

œ œ™ J

>œ ™

œ™

œ J

™™ ü†

œ ™™ ü† J

4-8X

œ J

4-8X

œ œ™ œ™ œ J J œ œ™ J

/ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ ™ œJ œ œ

/° ¢™™ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ü†

™™ ü†

2-4X

>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

pulse on any single pitch

Jordan Nobles

Change tone on every accent (continuing pulsing on the new pitch)

œ œ œ œ œ œ œ œ

open score for trio

Rosetta Stone

Dedicated to John Cage

/° ¢™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

4 /4

Part 3

/ œ

>œ

>œ ™ œ œ œ

œ œ J

œ œ™ J

>œ ™

œ œ™ J

˙™ œ

œ œ œ J

œ œ™ J

œ œ™ J ˙™

˙™

œ™

œ œ™ J

œ œ™ J ˙

œ™

>œ

œ œ™ J

œ J

˙™

œ œ™ J

œ œ œ œ œ™ J J

œ™

œ ˙ J

œ œ™ J

>œ ™

œ œ œ J

˙™

>œ

œ œ™ J

>œ ™ œ œ œ œ

œ œ™ J

Rosetta Stone @ Jordan Nobles, June 2016 www.jordannobles.com

œ œ œ

>œ ™

Continuing changing tone on every single note, while slowly fading out

œ™

CHANGE tone on EVERY SINGLE NOTE

>œ ™

œ œ J

>œ ™

œ œ >œ J

>œ ™ œ œ œ

œ œ ™ >œ ™ œ œ œ œ œ œ œ ™ J J

>œ ™ œ œ œ œ

CHANGE tone now on EVERY SINGLE NOTE

œ œ œ J

Continuing changing tone on every accent (multiple times per system)

/° ¢™™ œ œ œJ œ ™

/ œ

/ œJ œ ™

/ >œ ™

/° ¢™™ œ

>œ ™

Continuing changing tone on every accent (multiple times per system)

° / ¢™™ œ œ œJ œ ™

ppp

œ œ J

œ œ™ J

4-8X

œ œ™ J

œ™

œ J

™™ ü†

8-12X

œ J

>œ ™ œ œ œ ™™ ü†

>œ

œ œ ™ >œ ™ œ œ œ ™™ ü† J

4-8X

Circle of Fifths for large ensemble in twelve parts

Dedicated to Brian Eno

Jordan Nobles

Circle of Fifths for large ensemble in twelve parts

Jordan Nobles ABOUT THE PIECE Circle of Fifths was composed in May 2016. * Winner of the Unbound Flute Festival Composition Competition 2016 (Brisbane, Australia) * Premiered at the Unbound Flute Festival, Brisbane, Australia - July 3, 2016 AUDIO SAMPLE: http://bit.ly/CircleofFifthssample DURATION: As long as desired, 10 minutes recommended. End, or pause, individually, whenever desired PERFORMANCE INSTRUCTIONS: • Musicians surround the audience in the twelve positions of the hours of a clock. Multiple performers can be in each position. • Everyone plays long tones softly and repeatedly, of the given note and tempo. • There is no synchronicity required between players, unless they are in the same position of the clock. • The note you play corresponds to your place in the circle of fifths. example: 1 o’clock = C, 2 o’clock = G, 3=D, 4=A; 5=E; 6=B; 7=F#; 8=C#; 9=Ab; 10=Eb; 11=Bb; 12=F (see score) • Play in whichever octave(s) best enable you to achieve the quietest dynamic with your instrument. • Harmonics are other techniques are allowed as long as the dynamic can be observed. • No vibrato should be used, unless very subtle. • OPTIONAL: If the players are able to walk around the space then they should move in clockwise fashion around the circle, changing their notes as they pass into the new positions.

q = 44

4 & 4 ™™ w q = 66

4 & 4 ™™bw p

q = 64

4 & 4 ™™bw

∑

q = 62

q = 60

∑

4 & 4 ™™ w p

∑

q = 50

4 & 4 ™™ w

AUDIENCE

q = 52

4 & 4 ™™ w p

q = 54

4 & 4 ™™ w

∑ ™™

∑

q = 56

4 & 4 ™™ w p

∑

∑ ™™ ∑

∑ ™™

q = 58

∑ ™™

4 & 4 ™™#w

∑

Optional: direction of motion for walking

∑ ™™

4 & 4 ™™bw

q = 46

q = 48

∑ ™™

∑

∑ ™™ 4 & 4 ™™

∑ ™™

4 & 4 ™™bw

∑

∑ ™™

Circle of Fifths @ Jordan Nobles, North Vancouver, May 2016 www.jordannobles.com

∑ ∑ ™™

∑ ™™

Mรถbius open loops for variable chamber ensemble

Dedicated to Brian Eno

Jordan Nobles

Möbius

open score for spatialized chamber ensemble Jordan Nobles ABOUT THE PIECE Möbius is an open score piece composed for variable instrumentation and duration. It was commissioned by The Blueridge International Chamber Music Festival and premiered in Vancouver on July 29, 2015. DURATION: Möbius is a 1 minute loop which should continue for 6 - 12 minutes, or whatever duration is desired. PERFORMANCE NOTES Möbius has no parts, all musicians read off of the score. There is no pulse, tempo, measures or exact synchronization. The piece is coordinated by timers only (stopwatch or phone or clock, etc.). INSTRUCTIONS • Möbius is made of numerous looping systems or ‘strips’. Musicians perform the notes, independently, on any strip they wish. They can repeat the same strip over and over again or jump at any time to a different strip. • any strip can be repeated or ignored and need not be performed in any specific order • the duration of the piece is variable but should probably be decided on ahead of time • the numbers above the notes indicate the timing of when the note is to be performed. It corresponds to the second the note should be played, no matter what minute or strip it is on. For instance a B with a 37 above it should be played at 0’37” and/or 1’37” and/or 7’37” etc. This can be approximate. • players can pause at any time to breathe and to listen before proceeding • all notes should be soft and quiet throughout the piece • all notes can be performed in any octave desired as long as they are still performed quietly • there are always two notes written together, they can be performed together harmonically or melodically or the performer may choose just one note to perform; ignoring the second one.

• intervals can be inverted whenever desired. For example:

œ &œ

œ œ

can also be

• the notes or intervals can be performed in any number of ways. For example:

as long tones of 4-8 seconds:

4 - 8 seconds

w p

4 - 8 seconds

œ œ œ œ œ œ œ œ as pulses: & p

as melodic intervals:

ppp

˙™

4 - 8 seconds

or as smooth trills:

&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ppp

Möbius @ Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

ppp

Score in C

Möbius loops for variable ensemble Jordan Nobles Loop for X minutes, play notes in any octave

Strip A

œœ ™ & ™

bbœœ

Strip B

& ™™

& ™™ œœ

bœœ

##œœ

& ™™

bœœ 10

Strip E

Strip F

& ™™

œ œ

bœœ

Strip G

& ™™

Strip H

& ™™

Strip I

™™ œ œ

œœ

œœ ™™

#œœ

œœ

œ œ

bbœœ

#œœ

#œ #œ

™™

bœœ #œœ

™™ 57

#œœ

bbœœ

bœ15œ

œœ

b33œ bœ

bœœ

™™

n#œœ

#œœ

bbœœ

bœœ

™™

œœ

& ™™

œœ

™™

#œœ

œœ

Strip D

bbœœ

Strip C

™™

œœ

™™

œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

Score in C 2

Strip J

Strip K

bœœ

bbœœ

œ œ

œ bœ

bbœœ

Strip M

& ™™

œœ

& ™™

Strip O

& ™™ 01

Strip P

& ™™ œœ

Strip Q

Strip R

& ™™

œœ

bœœ

& ™™ œœ

œœ

bœœ

#œ œ

bbœœ

#39œ nœ

bbœœ

b25œ bœ

œœ œ œ

bœ œ

bœœ

œ ™™ œ 55

#œœ

n#œœ

œ #œ

#œœ

™™

#œœ œ ™™ œ

œ #œ 34

#œœ 31

œ bœ

™™

œ œ

bœ bœ

œ œ

bbœœ

œœ ™™

#œ #œ 31

™™

œ œ 04

#œœ

bœœ bœœ

œ œ

#nœœ

œ bœ

bbœœ

bœœ

œ œ

™™

bœœ

œœ

bbœœ

œœ

Strip N

bbœœ

& ™™

#œœ & ™™ œœ

Strip L

bbœœ

œœ

#œ #œ

™™

œ œ 49

#œ #œ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

#œ œ

™™

Score in C - Bass Clef

Möbius loops for variable ensemble Jordan Nobles Loop for X minutes, play notes in any octave 00

Strip A

? ™™ œœ

bbœœ 10

Strip B

? ™™

œœ

? ™™ œœ

bœœ

##œœ

Strip D

? ™™

Strip E

? ™™

bœœ

œœ

œ45œ ™™

œ œ

n#œœ

#œœ

bœœ

™™

œœ 25

œœ

? ™™

™™ #œœ

35 b b œœ

Strip F

bbœœ

Strip C

™™

œœ

bœœ

bœ bœ

™™ 57

œœ ™ ™

#œœ

06 18 bœœ

œœ Strip G

#œ42œ

? ™™

™™

#œœ

? ™™

bœœ 12 24

œœ

™™

bœœ

Strip I

51 #œœ

œœ

? ™™ œœ

œœ

bbœœ 03

Strip H

bbœœ

##36œœ

œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

Score in C - Bass Clef 2

Strip J

? ™™ œœ

? ™™

œ œ

? ™™

œ œ

Strip N

? ™™

œœ

? ™™

bbœœ

bœœ

œ œ

bœœ

œ bœ

Strip O

#œœ

œœ

bbœœ

œœ 08

Strip M

œ bœ

œ œ 06

Strip L

bbœœ

bœœ

Strip K

22 bbœœ

bœœ bœœ

œ œ

#nœœ

#œœ

™™

bbœœ

#œœ

œœ

bœœ

#œ #œ

#œ œ

31 bb œœ

™™

œ™ œ™

#œ nœ

#œœ

œ œ

bœ œ

n#œœ

œ #œ

#œœ

™™

™™ 57

Strip P

? ™™ œœ 04

Strip Q

Strip R

? ™™ œœ

œ œ

bœœ

œœ ? ™™

bœœ

œ œ

bœ bœ 16

bb œœ

bœ bœ

œœ œœ

bbœœ 28

#œœ

bbœœ

œ œ

œ bœ

bbœœ

œ #œ

#œœ

œœ

œ œ

œœ

##œœ

œ œ ™™

#œ #œ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

#œ œ

™™

Score in C - Alto Clef

Möbius loops for variable ensemble Jordan Nobles Loop for X minutes, play notes in any octave

Strip A

œ B ™™ œ

bbœœ

Strip B

œœ

B ™™

B ™™ œœ

Strip D

B ™™

Strip E

B ™™

bbœœ

Strip C

™™

œœ

30 ##œœ

bœœ

™™

#œœ 45

™™

œœ 05 20

œœ bœœ 10

œœ 09

Strip F

œ œ

B ™™ œ06œ

Strip G

œœ

bœœ

#œœ

bœœ

bœ bœ

n#œœ

œœ ™™

#œœ #œ42œ

œœ

œ B ™™ œ

œœ

™™

bœœ

B ™™

39 #œœ

bœœ

bbœœ

™™ 57

bbœœ

™™

B ™™

Strip I

18 bœœ

œ03œ Strip H

bbœœ

#œœ

##œœ

™™

œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

Score in C - Alto Clef 2

Strip J

Strip K

B ™™ œœ

B ™™

bbœ22œ

œ œ

œ bœ

bbœœ

B ™™

œœ

B ™™

œœ

bœœ

Strip N

B ™™

œœ

B ™™ œ œ

#œœ

bbœœ

bœœ

™™

œœ ™™

œ œ ™™

#œ œ

bbœœ

#œ nœ

œ œ

™™

# œœ

bœœ bœœ

#nœœ 46

#œ #œ

œ bœ

#œœ

™™

bœœ

œ œ 03

Strip O

bbœœ

œ œ 08

Strip M

#œœ bœœ

Strip L

32 bbœœ

bœ œ

n#œœ

œ #œ

#œœ

™™ 57

Strip P

Strip Q

Strip R

œ B ™™ œ

œ œ 04

œœ

b œœ

bœœ 16

B ™™ œ œ

œ œ

bbœœ

B ™™

bœ bœ

œ œ œœ

bœ bœ

œœ

bbœœ

bœ bœ

#œœ

bœœ

bœ bœ

œ #œ

#œœ

œœ

œ œ

#œ #œ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

œ ™™ œ 52

œ œ

##œœ

™™

#œœ

™™

Score in Bb

Möbius loops for variable ensemble Jordan Nobles Loop for X minutes, play notes in any octave

Strip A

œ ™ & ™œ

œ bœ

b30œœ

Strip B

& ™™

& ™™ œœ

& ™™

Strip F

& ™™

œ œ

bœœ

Strip G

& ™™

Strip H

& ™™ #œœ 12

& ™™ œœ

œ œ

œœ

#œœ ™™

##œœ

bœ27œ

#œœ

bœœ

œ15œ

™™

bœ œ œœ

Strip I

bœœ

œœ

™™ #55œœ

bœœ

œœ

50 ##œœ

bbœœ

œœ

™™

#œœ

Strip E

##œœ

œœ

™™

#œœ 30

Strip D

œœ 00

Strip C

™™

##œœ

#œœ

51 #œœ

bœœ

#œ #œ

48 # # œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

Score in Bb

Strip J

Strip K

œ & ™™ œ

& ™™

œœ

b œœ

& ™™

Strip M

& ™™

Strip O

œ œ

bœœ

& ™™

œœ

bbœœ

œœ

œ œ 03

œ #œ

œœ

bœœ

œ bœ

œ œ

bœœ

##œœ

#œœ

œ œ

& ™™ œœ

bœœ

nœœ

#œ #œ

Strip Q

Strip R

œœ

& ™™

& ™™##œœ

œœ

#07œ œ

œœ

bœœ

œ œ

##œœ

bœ bœ 25

™™

œ ™ #œ ™

#œ #œ 28

œœ

nœ œ

##œœ

#œœ

œ bœ

™™

#œ œ #51œœ

bœ œ 16

bœ œ

™™

#œ ™™ œ

##œœ

bœœ Strip P

#œœ

#œ #œ

™™

#œ #œ

™™ #œœ

46 # # œœ

##œœ

œœ

& ™™

bbœœ

Strip N

#œ œ

Strip L

™™

œ œ 49

#œ #œ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

55 # # œœ

™™

Score in Eb

Möbius loops for variable ensemble Jordan Nobles Loop for X minutes, play notes in any octave

Strip A

œ & ™™ œ

œœ

Strip B

& ™™ œœ

Strip D

& ™™

œœ œœ

& ™™

œ #œ 06

& ™™

Strip H

& ™™

#œœ

Strip I

œ œ

bœœ

#œœ

nœœ

##œœ

bœœ

œœ

bœœ

œœ

#œ #œ

™™

bœ œ

œœ

œ & ™™ œ

bœœ

œœ

##œœ

nœœ

#œœ

& ™™

Strip G

™™

bbœœ

Strip F

bœœ œœ

Strip E

™™

bœœ

Strip C

50 ##œœ

œœ

& ™™

™™

##œœ

™™ 57

#œœ ™™

bbœœ

bœœ

#œœ

™™

##œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

Score in Eb

Strip J

Strip K

œœ

Strip N

#œ œ

œ œ

bœœ

bbœœ

& ™™

œ œ

& ™™

#œœ

& ™™

œœ

& ™™

™™ #œ #œ

nœœ œœ 09

œ œ

bœœ

##œœ

#œ #œ

#13œ œ

bœœ

œ bœ

##œœ

bœ œ

bœœ

bœ œ

#œœ

œœ

bœœ

#œ #œ

bœœ

œœ 19

#55œ œ

œœ

nœ œ

#œ #œ

##œœ 25

œ œ

nœœ

bbœœ

##œœ

##œœ 43

œ nœ

™™

#58œ ™ œ ™

œ bœ

œœ

œœ 01

& ™™ #œœ

œ œ

& ™™ # œœ

Strip R

##œœ

œœ

#œ œ

™™

nœœ

Strip Q

œœ

Strip P

™™

#œœ bœœ

Strip O

Strip M

Strip L

bbœœ

& ™™ œœ

& ™™

œ ™™ #œ 52

™™ #œ œ 49

#œ #œ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

#œ #œ

™™

Score in G

Möbius loops for variable ensemble Jordan Nobles Loop for X minutes, play notes in any octave 00

Strip A

& ™™ œœ

nœœ

bbœœ 10

Strip B

& ™™

Strip D

& ™™

™™

bbœœ

nœœ

bbœœ

œœ 10

bœœ

n#œœ

™™ 55

bœœ

& ™™

Strip F

nœœ

n#œœ

bbœœ

Strip E

™™

bbœœ

& ™™ œœ

nœœ

bœœ

Strip C

™™

nœ #œ

n#œœ

bœœ

& ™™

bœ œ 06

™™

nnœœ

™ n œœ ™

n#œœ Strip G

& ™™

œœ 03

Strip H

& ™™

nœœ

bœœ

œœ 00

Strip I

& ™™ œœ

œ bœ

™™

bbœœ bœœ

bbœœ

39 #nœœ

#œœ #36œ nœ

™™

nœœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

Score in G 2

bœœ Strip J

& ™™ œœ 04

Strip K

& ™™

œ œ

œ bœ

bœœ

& ™™

œœ 08

Strip M

Strip N

& ™™

œ œ

œ bœ

Strip O

Strip P

œ œ

& ™™

& ™™ œœ

œ œ

Strip Q

& ™™

Strip R

nœ & ™™ œ

œœ

bbœœ

œ œ

bbœœ

nœ nœ

œœ

œ œ

#38œ nœ

bœ bœ 19

œ œ

#œ nœ

œ bœ

#œœ 51

n#œœ

œ #œ

nœœ

bbœœ

bœ bœ

nnœœ

bbœœ

nœ œ

nœ #œ

œ œ

nœœ

œ œ 43

™™

œ œ

#œ nœ

bbœœ

™™

n58œ ™™ œ

#48œ œ

bbœœ

n œœ 56

bœ bœ

#n œœ 46

bœœ

b27œ bœ

bœœ bœœ

bœœ

™™

œœ

™™

bbœœ

œœ

b18œœ

œœ

& ™™

n#œœ

Strip L

bbœœ

##œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

nnœœ

™™

Score in F

Möbius loops for variable ensemble Jordan Nobles Loop for X minutes, play notes in any octave 00

Strip A

™™ œœ

#œ œ

bbœœ 10

Strip B

& ™™

& ™™ œœ

bœœ

& ™™

bbœœ

#œœ

bœœ

##œœ

& ™™

œ œ

& ™™

œœ

& ™™

#œœ 00

œ & ™™ œ

bœ œ

#œœ 42

bbœœ

œœ

bœœ

™™

n#œœ

™™ 55

œœ

Strip I

œœ

Strip H

œœ

& ™™

bœœ

Strip G

™™ n#œœ

Strip F

bbœœ

Strip E

™™

bœœ

Strip D

#œœ

œœ

Strip C

™™

#œœ ™™ 54

™™ #œœ

#œœ

nbœœ

bœœ

bœ bœ

#œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

Score in F 2

Strip J

12 œœ

Strip L

& ™™

œ œ

& ™™

œœ

Strip M

Strip N

& ™™

œ œ

œœ

œ bœ

Strip O

Strip P

œ œ

& ™™ 01

œ œ ™ ™ &

œ œ

bbœœ

##œœ

Strip Q

& ™™

Strip R

#œ ™ ™ & œ

œœ

bœœ

bœ bœ

œœ

œ œ

#œ #œ

#œ œ

#œ ™™ œ

#œ #œ

œœ

#œœ

#œ œ

bœ œ

##œœ

œ #œ

#œœ

œ ™™ œ

bœœ

bœ œ

œœ

# œœ

bœœ

##œœ 46

œœ

™™

b28œœ

œœ

bbœœ

#œ #œ

#œœ

bbœœ

##œœ

œ nœ

™™

œœ

& ™™

#œœ

bœœ

œœ

œ bœ œ œ

bbœœ

& ™™ œœ

Strip K

b œœ

œ bœ

#œœ

œ œ

™™

œ œ ™™

œœ

#œ #œ

##œœ

Möbius © Jordan Nobles, North Vancouver, July 2015 www.jordannobles.com

™™

#œ #œ

™™

Equilibrium open score for chamber ensemble

Dedicated to Katie Rife

Jordan Nobles

Equilibrium open score for chamber ensemble

Jordan Nobles

ABOUT THE PIECE Equilibrium is a free form, open score piece composed for variable instrumentation and duration. It was premiered by the Vancouver Symphony Orchestra, conducted by Gordon Gerrard on April 24, 2016 DURATION: The duration of Equilibrium is indeterminate. Play for 6 - 10 minutes, or whatever duration is desired. PROGRAMME NOTE: The state of equilibrium is reached in a system when all competing influences are balanced. Lately, I’ve been interested in creating static forms of music where the harmonic motion is extremely slow or even completely still. Equilibrium is the latest in this series of sonic quests. Equilibrium explores the world inside a single, massive, thirteen note chord of stacked fifths with each note of the chromatic scale represented. Inside this chord the musicians have much flexibility and are able to roam, choosing their own rhythms and their own melodic material, but never leaving the stillness of their designated harmonic world. PERFORMANCE NOTES Equilibrium has no parts or score, all musicians play freely from the available notes. There is no pulse, tempo, measures or exact synchronization. INSTRUCTIONS • play freely in your own time • only ever play the given notes, in a random order, Do Not Transpose to Different octaves • players can pause at any time to breathe and to listen before proceeding • all notes should be soft and quiet throughout the piece • the duration of the piece is variable but should probably be decided on ahead of time SPATIALIZATION Equilibrium is written to the hopes that the musicians could be spatially spread about the performance space, preferably surrounding the audience. While it is not vital for the piece to be performed this way, a spatial distribution of musicians will greatly enhance the effect of the piece. The exact layout will vary depending on the venue and is not important as long as they are evenly distributed throughout the space. Balconies, lofts, etc. can also be utilized as well. Also, if possible, similar instruments (winds, strings, etc.), should not stand together as would be the norm but instead should be separated so each member of the group is in a different area of the venue from similar instruments. Note: It may be beneficial to rehearse the piece, at least at first, in the standard layout with all of the musicians together. Then, once the piece is learned, it can be spread out and rehearsed in a spatial configuration.

Equilibrium Jordan Nobles

open score for chamber ensemble

Play only these notes, but in any order, quietly, freely, and with no pulse. Piano

(hold sustain pedal down throughout)

◊ÿœ œ b bb œœœ ## œœ ##œœœ œ œœ œœ œœ

› & pp

& pp

{

Flute

◊ÿ œ œ bœ b œ bœ #œ # œ #œ # œ œ œ #œ œ œ œ œ œ œ

(play long tones only, for the length of a single breath)

## œœ ##œœ # œœ

#œ # œ #œ # œ œ #œ

Piccolo

(sounds 1 octave lower, play long tones only, for the length of a single breath)

bbœœœ bbœœ

‹ &

œ b œ bœ b œ bœ

Bass Flute

& ‹

(sounds 1 octave lower, play long tones only, for the length of a single breath)

## œœ n#œœ nœ

œ #œ œ

Clarinet

& pp

(written in Bbb, sounds a wholetone lower, play long tones only, for the length of a single breath)

##œœ ### œœœ

Bass Clarinet

& ‹

#œ #œ

## œœ ##œœœ œ

#œ # œ #œ # œ #œ (written in Bbb, sounds a ninth lower, play long tones only, for the length of a single breath)

#œ # œ #œ # œ œ œ

Equilibrium © Jordan Nobles, North Vancouver, June 2015 www.jordannobles.com

Oboe (play long tones only, for the length of a single breath)

###œœœ #œ

#œ # œ #œ #œ

English Horn

(written in F, sounds a fifth lower, play long tones only, for the length of a single breath)

## œœ ##œœœ

#œ # œ #œ # œ œ

Bassoon (play long tones only, for the length of a single breath)

# œœ œœ œ

œ œ & #œ #œ œ œ High notes can be harmonics

Violin

“” nœ n œ # œ bœ # œ #œ # œ œ

(play long tones only, for the length of a single bow)

###œœœ # œœ

& pp

High notes can be harmonics

Viola

(play long tones only, for the length of a single bow)

“” n œ # œ # œ #œ bœ # œ & œ œ

###œœœ œœ

B pp

Cello

(play long tones only, for the length of a single bow) High notes can be harmonics

## œœ œœ œ œ

#œ œ œ œ

“” b œ # œ bœ & #œ

Doublebass

(sounds 1 octave lower,play long tones only, for the length of a single bow)) High notes can be harmonics

? ‹

nn œœ œœ nœ nœ

#œ #œ

œ œ œ œ

#œ œ &

Equilibrium © Jordan Nobles, North Vancouver, June 2015 www.jordannobles.com

Glockenspiel

› &

(sounds 2 octaves higher)

œœ bbbœœœ

œ œ bœ b œ bœ

Songbells

‹ &

(sounds 1 octave higher, plastic mallets if possible)

bœ bœœ b b b œœ

bœ bœ b œ b œ bœ

Vibraphone

(hold sustain pedal down throughout, med hard mallets)

###œœœ # œœ

#œ # œ #œ # œ œ

Guitar

(sounds 1 octave lower) let notes ring as much as possible, tune lowest string to D

& ‹ pp

###œœœ œœ œœ

Marimba

& pp

{ Harp

& pp

Potential Chord Patterns

4fr

11fr

#œ # œ #œ œ œ œ œ

(medium soft mallets)

#œ ##œœ œ # œœ œ œ

#œ #œ #œ œ #œ œ œ œ

(all notes set to flat, let all notes ring)

bœ bb œœ bœ b b b œœœ

“” b œ b œ bœ b œ bœ b œ bœ

Equilibrium © Jordan Nobles, North Vancouver, June 2015 www.jordannobles.com

Chiaroscuro open score for spatialized chamber ensemble

Dedicated to Giorgio Magnanensi

Jordan Nobles

Chiaroscuro! Dedicated!to!Giorgio!Magnanensi! !

Chiaroscuro!was!commissioned!and!premiered!by!Vancouver!New!Music!in!March!2014.! !

PROGRAM!NOTE! ! ! “To!light!a!candle,!is!to!cast!a!shadow.”!E!Ursula!K.!Le!Guin! PERFORMANCE!NOTES! • Each!musician!is!given!6!systems!to!perform.!They!can!play!them!in!any!order!and!even!switch!among!them!when! desired.!BUT!they!must!play!each!chord!at! the!designated!time!according!to!the!stopwtach.!For!instance!if!the! stopwatch!says!3:20!then!everyone!should!play,!for!10!seconds,!a!measure!that!has!:20!above!it.!Doesn’t!matter! which!one.!When!the!stopwatch!moves!to!3:30!they!can!stop!playing!or!move!to!any!other!:30!measure.! • What!systems!to!play,!and!when!to!play!them,!should!be!decided!by!each!musician!independently!as!long!as!they! are!responsive!to!the!other!players.! • Attack/decay!instruments,!such!as!vibes!and!guitar!must!play!constantly,!without!a!break,!but!other!players!can! play! whenever! they! wish! and! remain! silent! as! long! as! desired.! But! they! must! of! course! reEenter! on! the! correct! measure.! • Any! 6! measure! system! can! be! repeated! or! ignored! at! the! discretion! of! the! players.! The! systems! need! not! be! performed!in!any!specific!order.!I.e.!players!need!not!play!all!of!their!music!and!do!not!need!to!begin!on!the!first! system!but!can!begin!on,!and!repeat,!any!system(s)!they!wish.! • If!repeating!a!system,!octave!transpositions!can!occur!if!desired!as!long!as!the!dynamics!can!be!observed.! • TWO!NOTES:!winds,!saxophone!and!strings!often!have!two!notes!to!choose!from!to!perform.!Play!either!one!for! the!full!duration!(if!this!system!is!repeated!then!choose!the!other!note!next!time).!! !

INSTRUMENTATION! • Exact! instrumentation! for! Chiaroscuro! is! optional! but! it! should! be! performed! by! a! least! five! (5)! or! more! performers.!Separate!parts!are!written!for!specific!type!of!instruments.!! !

INSTRUMENT!SPECIFIC!INSTRUCTIONS! • Guitar!E!Warm,!clean!tone.!Please!pluck!chords!with!fingers!instead!of!picks.!Let!notes!ring!as!much!as!possible.!! • Vibes!E!Sustain!pedal!down!throughout.!Please!ensure!that!all!notes!in!the!chord!speak!at!the!same!dynamic.!! • Glockenspiel!E!Plastic!mallets.!Please!try!to!blend!in!with!the!vibes!and!guitar!and!not!cut!through.!

•

• Violin!&!Cello!E!Play!each!note!or!double!stop!with!a!slow!bow.!Always!quietly,!with!little!to!no!vibrato.!Octave! transpositions,!as!well!as!natural!or!artificial!harmonics!can!be!experimented!with!if!desired,!as!long!as!the!note! remains!quiet.!Violin!and!Cello!can!also!play!both!notes!as!a!double!stop!if!desired.!! Note:!Some!measures!have!a!tie.!Please!hold!those!special!measures!for!20!seconds!or!30!seconds!as!indicated.! • Doublebass!E!No!octave!transpositions!please.!Some!notes!are!indicated!as!Pizz.,!please!allow!them!to!ring!out.! • Brass!E!Play!straight!long!tones!with!mute.!

DURATION! • As!each!of!the!systems!can!be!played!in!any!order,!or!repeated!as!desired,!the!piece!therefore!has!no!prescribed! duration.!Although!the!recommended!duration!is!6E10!minutes.!

Chiaroscuro!©!Jordan!Nobles,!Kelowna,!March!2014!!www.jordannobles.com!

Nocturne open score for spatialized chamber ensemble

Dedicated to Brian Eno

Jordan Nobles

Nocturne! open!score!for!spatialized!chamber!ensemble!

! Nocturne)was!premiered!by!The!Vertical!Orchestra!in!Vancouver,!! North!Vancouver,!and!Victoria!on!August!9E11,!2013.! ! ! ! PERFORMANCE!NOTES! !

• Nocturne!can!be!performed!by!1!or!more!musicians.!!While!it!is!designed!for!ensemble!it!can!also!be!performed!by! a!soloist,!or!two.! • Each!musician!starts!playing!the!melody!independantly!and!freely,!leaving!room!for!the!others!to!join.! • Do!not!all!start!at!the!same!time!but!stagger!the!entrances!in!an!order!agreed!upon!before!starting.! • Play!the!melody!as!if!you!are!the!soloist!and!everyone!should!be!listening!to!you!(but!still!allowing!space!for!the! others!occasionally).! • The! melody! has! numerous! slightly! simpler! ossia! which! can! be! taken,! if! desired,! for! appropriate! instruments!!!!!! (i.e.!harp!due!to!the!chromatic!passages,!trombones,!etc.!and!if!the!texture!is!too!dense!at!the!time).! • Play! any! phrase! in! an! octave! suitable! for! your! instrument.! Transposing! the! entire! phrase! (under! the! phrase! marking)! not! just! a! few! of! the! notes.! Always! play! in! the! best! singing! range! of! your! instrument! as! long! as! the! dynamics!can!be!observed.! • A!‘breathe’!marking!with!a!fermata!!!!!!!!means!to!pause!for!as!long!as!you!feel!you!should.!A!rule!of!thumb!is!that! if!it!is!a!very!busy!texture!then!pause!longer!and!a!thin!or!solistic!texture!then!just!pause!briefly.!!! !

Nocturne)©!Jordan!Nobles,!North!Vancouver,!July!2013!!www.jordannobles.com!

Museum Pieces concurrent solo pieces for spatial chamber ensemble

Dedicated to Brian Eno

Jordan Nobles

Museum Pieces concurrent solo pieces for spatial chamber ensemble Jordan Nobles PROGRAMME NOTES When one walks through an art gallery one is confronted by unique artworks, on different walls, all together in the same room. Museum Pieces tries to capture of spirit of multiple works together in the same space. The idea for this piece comes from the textures of Morton Feldman and the musical circuses of John Cage. Each player has a separate solo composition named after a piece of artwork from the twentieth century that inspired me. Museum Pieces was commissioned by the North Shore Branch of the British Columbia Registered Teachers Music Association and premiered on November 18, 2012. PERFORMANCE NOTES • Museum Pieces is made of numerous 2 minute solo works that are written to be performed in any number, in any combination, simultaneously, in different areas of the performance space. • these pieces can be performed alone, or as a duo or trio, etc, in any combination, even repeated. • each solo piece is sparse and pulseless. Musicians are to perform them freely and as expressively as possible, but within the time frame indicated (each measure is approx. 10 seconds long and each solo piece is approx. 2 minutes long) • there is no synchronization required other then the pieces should all start together and end approximately at the same time. • At the end of each of the pieces the musician has the option of repeating it. This could be used when there are multiple pieces being performed simultaneously as a repeat would result in a different version each time. • players should decide how many repeats to perform before the performance. • soloists playing only by themselves can vary the rhythm and duration at will. PIECE TITLES Black, Red and Black - for low piano (inspired by the 1968 Mark Rothko painting) Walking Quickly Under the Rain - for high piano (inspired by the 1949 Alberto Giacometti sculpture) C and O - for solo flute (inspired by the 1958 Franz Kline painting) Number 4 (Gray and Red) - for voice with piano (inspired by the 1948 Jackson Pollock painting) Portrait d'Ambroise Vollard - for solo violin (inspired by the 1910 Pablo Picasso painting) Nude Descending a Staircase, No.2 - for solo cello, or viola (inspired by the 1912 Marcel Duchamp painting) Broken Obelisk - for vibraphone (inspired by the 1963-69 Barnett Newman sculpture) Palisade - for clarinet in Bb (inspired by the 1957 Willem de Kooning painting) SAMPLE ORDER Museum Pieces is written to be performed concurrently, or repeated in any combination. A 10 minute performance with many players could be coordinated like this for example… TIME 0:00

2:00

HIGH PIANO FLUTE

LOW PIANO

LOW PIANO VIOLIN

4:00 FLUTE VIBRAPHONE VOICE WITH PIANO CLARINET VIOLIN

6:00

8:00

10:00

HIGH PIANO VIBRAPHONE VOICE WITH PIANO CLARINET VIOLIN CELLO

VIBRAPHONE CLARINET CELLO

SPATIALIZATION Museum Pieces should be spatially spread about the performance space, preferably surrounding the audience. While it is not vital for the piece to be performed this way, a spatial distribution of musicians will greatly enhance the effect of the piece. The exact layout will vary depending on the venue and is not important as long as they are evenly distributed throughout the space. Balconies, lofts, etc. can also be utilized as well. Note: It may be beneficial to rehearse the piece with a stopwatch or timing device at first in order to learn how fast or slow to take certain sections. Then, once the piece is learned this way, the stopwatch can be ignored in favour of a more free interpretation or kept on the music stand to aid the performance if desired.

Museum Pieces © Jordan Nobles, North Vancouver 2012-2016 www.jordannobles.com

Inspired by the 1968 Mark Rothko painting

low piano

Black, Red and Black for solo low piano from Museum Pieces

Jordan Nobles

Adagio, performer can play each chord solid or arpeggiate up or down at will 10" 20"

bœ w

& pp

w bw w

bœ w w bw

{ w “‘ °

hold sustain pedal down throughout 40" 30"

{

& ? bw

w bw w bw

#œ <n>w #nw w

bww bbw w

50"

& ##w ww ? #w

1'00"

#w #w w nw w

###w ww

{

w 1'10" 1'20"

{

& w ? #œw #w #w

#ww #w w w

nœ #w #w nw w

w nww w

1'30"

1'40"

{

& ? #œ w w w

œ <n> w w w

w œ

œ w

<n>w

bw w <n>w “‘ 2'00" (Repeat Optional)

1'50"

{

w & w w ? w :“;

œ w w w

ww w

bw w ww

w bw

bw bw

™™ U ?

™™ w “‘

Black, Red and Black from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

Inspired by the 1949 Alberto Giacometti sculpture

high piano

Walking Quickly Under the Rain for solo high piano from Museum Pieces Jordan Nobles

Floating, very quickly and freely, very rubato without a pulse 10"

‹ &

bœ œ ˙ bœ

bœbœ ˙ œ bœ bœ

pp hold sustain pedal down throughout

‹ &

œ bœ œ œ bœ n œ nœ bœ ˙ bœ bœ

20"

œ bœ œbœ œbœ œbœ œbœ ˙ bœ ppp

30"

‹ &

œ bœbœbœbœbœbœbœb˙ p

ppp

bœ b œ bœb˙ bœ

b œ bœ b˙

40"

‹ &

b œ bœ bœ œ n œ bœb œ bœ b˙ n œ b œ bœ œ b œ b œ bœ œ œ bœbœbœ

#˙ 50"

‹ b˙ b œ & bœbœ

#œ ‹ #œ # œ #˙ #œ &

b œ bœb œ b œ n œ bœb ˙ bœ bœbœ

nœ#˙ n œ #œ œnœ #œ #œ #œnœ #œnœ #œ

n œ # œ #œ 1'00" #œ #œn˙ nœ

Walking Quickly Under the Rain from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

2 high piano

1'10"

‹ &

#œ#œ

‹ &

# œ #œ nœ#˙

# œ #˙ n œ œ#œ#œ

œ#˙

# œ #˙

# œ #œ n˙

1'20"

œ #œ ˙ œ#œ œ œ #œ

#˙

˙ ‹ #œ œ œ & œ#œ

˙ œ #œ

œ œ œ œ œ # œ #œ nœ ˙ œ nœ

‹ &

1'30"

œ œnœ ˙ œ œ nœ

1'40"

nœ œ nœ œ œ œ œ œ œ ˙ nœ œ ppp

1'50"

‹ œ œ œ œ œbœ œ œ œ œb œ œ œ œ n œ b œ œœ œ bœ œ & œ

œ bœ

œ ˙ œ

2'00" (Repeat Optional)

‹ œ ˙ œ & pp

bU ˙ œ˙

b˙ œœ

œb˙

b˙ ™™

ppp

Walking Quickly Under the Rain from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

Inspired by the 1958 Franz Kline painting

ﬂute

C and O for solo ﬂute from Museum Pieces Jordan Nobles

Adagio, very expressively 10"

bœ &

œ <n>œ œ œ bœ

œ pp mp

20"

, bœ

& bœ

, œ œ

bœ bœ bœ

b˙

pp pp mp

vary the speed of the trill with the dynamics (i.e. quieter = slower) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n˙ bœ bœ bœ bœ bœ b˙ & ˙ bœ p pp

30"

40"

, bœ

bœ bœ ˙

n˙

nœnœbœ n œ nœ nœ

50" vary the speed of the trill with dynamics

, n˙ & #˙ mf

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ <#>˙ œ pp

1'00"

#œ #œ œ &

n œ #œ œ nœ #œ

nœ#œ #˙

C and O from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

2 ﬂute

vary the speed of the trill with dynamics 1'10" Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & #˙ œ n˙ œ #œ œ #œ œ #˙ p pp

decel 1'20"

<n> ˙ œ œ œ #œ nœ nœ œ nœ œ œ œ œ ˙ & p pp

accel 1'30"

#œ œ #œ œ #œ œ œ œ œ #œ nœ œ œ œ & œ #œ nœ œ nœ œ œ ˙ p p

1'40"

œ bœ œ n œ œ œ œ œ nœ

˙ & œ pp

p mp

decel

œ nœ

bœ œ œ

Œ & œ

1'50"

b˙

˙ p

2'00" (Repeat Optional)

vary the speed of the trill with dynamics Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U b œ b œ b œ b œ & n˙ n˙ <n>œ œ ˙ ™™ p pp

C and O from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

Inspired by the 1948 Jackson Pollock painting

voice and piano

Number 4 (Gray and Red) for voice and piano from Museum Pieces Jordan Nobles

Adagio, espressivo means to slowly change vowels 10"

20"

, p

, pp

b˙

& œ bw

˙ u

œ œœ bœœœ bœœ b˙

œ œ bœœ b˙ bœ b œ b ˙

& ppp

ppp

{ hold sustain pedal down throughout

° 30"

40"

, ,

pp mp

b˙ #œ & bœ bœ ˙ o

#œ #œ nœ #˙

œ bœ n

#œ n#œœ #œœ # œ # ˙˙

b œ b œœ bb œœœ b œœ b˙

ppp p p

ppp

{

50"

1'00"

, p pp p

<#>œ n˙

#˙ #œ #œ œ #˙

& e

o i o

& #œ #œœ ##œœœ #œœ #˙ p

#œ n˙ i

nœ #œœ #˙˙ # œ # œœ # œœ # œœ ˙

ppp p

{

#w w Number 4 (Gray and Red) from Museum Pieces © Jordan Nobles, October 2012, North Vancouver www.jordannobles.com

#˙˙

2 voice and piano

1'10" p

#œ œ ˙ a

#˙ ˙

& #˙˙ nœ pp

#œ œ œ œ ˙

n˙ &

1'20" pp

#œ nœ œ œ ˙ i

n˙ n˙

#˙ ˙

ppp

? #œ #œœ #œœ #˙˙

n#˙˙

{

#˙ n˙

1'30"

1'40"

, pp

, œ œ œ w

& ˙

œ nw

n˙ n

“˙” ˙

#˙ n˙ &

œ œœ œœœ

n œœ

n˙

? ˙ ˙

{

ppp

n ˙˙

w 2'00" (Repeat Optional)

1'50" mp

, pp

˙ & n˙ i

u i u i u

& œ n œœ n œœœ nn˙˙ p

U ˙

œ œ ˙ u

œ œœ bœœœ bœœ b˙

™™

ppp p

ppp

{

™™ î

™™ bw Number 4 (Gray and Red) from Museum Pieces © Jordan Nobles, October 2012, North Vancouver www.jordannobles.com

Inspired by the 1910 Pablo Picasso painting

violin

Portrait d'Ambroise Vollard for solo violin from Museum Pieces Jordan Nobles

Adagio, solemn and expressive 10"

, & œ

w bœ

bœ

b˙

20"

, bœ &

œ bœ bœ

œ bw

œ b˙

30"

, bœ bœ

œ bœ bœ bw &

œ pp

40"

, b˙ ˙

bœ bœ

b˙ nœ #œ

& mp

œ #œ

, 50"

, œ #œ nœ #œ nœ #˙

& #œ #œ #˙

1'00"

, & #œ #œ #œ

œ #œ

˙ #œ

œ #œ nœ #˙ p

Portrait d'Ambroise Vollard from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

2 violin 1'10"

#œ œ

œ #œ #œ

œ #œ nœ #œ

˙ & mf

1'20"

œ #œ nœ

n˙ p

#œ ˙

1'30"

œ œ≤

≥ œ œ

≥ œ œ œ≤ œ ≥ œ œ ˙

≤ ≥ œ œ ˙

≤

1'40"

≥ œ & œ

œ œ≤ œ

≥ œ ˙

≤

≥ œ œ œ≤ œ œ ˙ œ

œ œ œ

1'50"

, œ

œ bœ œ

bœ ˙

& mp

2'00" (Repeat Optional)

, & œ

bœ œ

bœ

U ˙ ™™

w œ

ppp

Portrait d'Ambroise Vollard from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

Inspired by the 1912 Marcel Duchamp painting

cello

Nude Descending a Staircase, No. 2 for solo cello from Museum Pieces Jordan Nobles

Adagio 10"

b˙

œ b˙

œ b œ œ b˙

20"

, pp

bœ œ

œ˙

? , bœ mp

30"

bœ ˙ ?

bœ b˙

bœ bœ bœ pp

40"

bœ œ bœ œbœ ˙

,bœbœ œ nœ #œ

50"

? #˙ pp

#œ# ˙ nœ mp

nœ #˙

1'00"

, œ #œ œ #˙

#œ œœ œ ˙

1'10"

1'20"

#œ ? #œ œ #˙

œ #˙

œ #œ œ

#˙ <n>˙ #˙ <n>˙

1'30"

1'40"

? ˙ >œ

œ ˙ >

œ œ œ œ#œ œ#œ œ œ ˙

<n>˙

b˙

p 2'00" (Repeat Optional)

1'50"

U ? ˙

™™

bœ ˙ bœ ˙

œ ˙ œ b˙

˙ ˙

pp ppp Nude Descending a Staircase, No. 2 from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

Inspired by the 1912 Marcel Duchamp painting

viola

Nude Descending a Staircase, No. 2 for solo viola from Museum Pieces Jordan Nobles

Adagio 10"

20"

, b˙

œ b˙

, œ bœ œ b˙

bœ œ

œ˙

& bœ pp

30"

40"

, & bœ ˙

bœ b˙

bœ bœ bœ œ bœ œbœ ˙

˙ bœ

bœ pp

bœ œ nœ # œ

50"

1'00"

, & #˙ pp

#œ #˙ nœ mp

nœ #˙

œœ

œ #œ œ #˙

#œ œ ˙

1'10"

1'20"

, #œ œ B #œ #˙

œ #˙

œ #œ

, <n>˙ #˙ <n>˙

#˙ œ

1'30"

B œ ˙ >

œ ˙ >

œ œ œ œ#œ œ#œ œ œ ˙

1'40"

<n>˙

b˙

p 2'00" (Repeat Optional)

1'50"

B ˙

bœ ˙ bœ ˙

œ ˙ œ b˙

U ˙

™™

pp ppp Nude Descending a Staircase, No. 2 from Museum Pieces © Jordan Nobles, September 2012, North Vancouver www.jordannobles.com

Inspired by the 1963-69 Barnett Newman sculpture

vibraphone

Broken Obelisk for solo vibraphone from Museum Pieces Jordan Nobles

Freely, expressively, without a pulse; use soft mallets 10"

bw œ

bww &

œ w

bw w

20"

w bœ

bw bw

øetc. 40"

30"

bœ

& w

bœ w œ

bœ œ œ œ b w

#w nœ

#w #œ œ œ #w #w

50"

w & #œ

# œ œ #w #w w

#w #œ œ

1'00"

w #œ œ œ #w

nœ ##w w

1'10"

& ww

wœ

#œ

#w w

1'20"

w w œ #œ n w

#w w

1'30"

nœ #œ & œ

w œ bœ w

1'40"

œ nw

œ nœ w

w 2'00" (Repeat Optional)

1'50"

w w bw & w

bœ œ w

w w œ œ bw

w w

bw w

bww

Broken Obelisk from Museum Pieces © Jordan Nobles, September 2016, North Vancouver www.jordannobles.com

™™

Inspired by the 1957 Willem de Kooning painting

Clarinet in Bb

Palisade Jordan Nobles

for solo Bb Clarinet from Museum Pieces slowly, freely and expressively 10"

w w o

o p 20"

w w o

o p 30"

bœ œ œ œ œ bœ bœ nœ bœ w

& bw o

40"

& bœ œ œ p

bœ

œ mp

pp 50"

w bœ bœ bœ bœ œ

nœ œ

bœ

nœ œ mp

1'00"

#w œ #œ #œ #œ #œ #œ #œ nœ œ #œ

& w pp

1'10"

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w #œ

& #œ ppp pp Palisade from Museum Pieces © Jordan Nobles, November 2016, North Vancouver www.jordannobles.com

2 Clarinet in Bb 1'20"

#œ #œ & œ #œ

œ #œ #œ œ

œ #œ œ #w

œ #œ #œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1'30" nœ & nœ

#w #œ w

#œ ppp

1'40"

#w nœ nœ nœ œ nœ #œ

#œ nœ #œ

nœ mp

p 1'50"

& w o

w œ œ

œ œ

œ #œ

nœ œ

p 2'00" (Repeat Optional)

& w

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™™ nw œ

œ pp

ppp

Palisade from Museum Pieces © Jordan Nobles, November 2016, North Vancouver www.jordannobles.com

Quickening open score for chamber ensemble

Dedicated to Jocelyn Morlock

Jordan Nobles

Quickening!

open!score!for!chamber!ensemble! Jordan!Nobles!

About!the!Piece! Quickening!was!premiered!by!the!Aventa!Ensemble,!directed!by!Bill!Linwood,!on!December!4,!2012.! The!premiere!included!Quickening,!Surface)Tension!and!Rogue)Waves!all!played!attacca.! !

Performance!Notes! • Quickening!involves!swells!of!very!fast!tremolos!that!gradually!decelerate!to!slow!pulses!and!finally!a!C!drone.!! • each!system!has!a!set!of!pitches!to!choose!from!to!tremolo!and!a!dynamic!which!one!can!rise!to! • each!dynamic!swell!should!proceed!from!as!quiet!as!possible!to!the!given!dynamic!at!the!head!of!each!system! • systems!have!to!be!played!in!order,!each!lasting!approx.!20!seconds!or!so;!musicians!proceed!independently,! playing!1,!2,!or!3!notes!per!system!and!then!moving!down!to!the!next!system! • pitches!can!be!played!in!any!octave!as!long!as!the!dynamics!are!observed!! • there!is!no!pulse!or!synchronization!required!or!desired!

For!example:! System!1!could!sound!like!this:!

System!4!could!sound!like!this:!

! And!system!7!could!sound!like!this:!

! Instrument!Specific!Notes! Winds!&!Brass:!play!fluttertongue!at!the!beginning!and!then!triple,!double!or!single!tonguing!as!the!pulse!slows! Strings:!use!sul!ponticello!throughout! Percussion:!play!on!mallet!instruments,!possibly!starting!on!harder!mallets!at!first!and!softer!near!the!end!! Quickening)©!Jordan!Nobles,!North!Vancouver,!November!2012!!www.jordannobles.com!

Quickening Score in C open score for chamber ensemble Jordan Nobles Play notes from each system, in any order, in any octave. Play each system for approx. 20 sec., then move on to the next system - tremolo as fast as possible (winds and brass ﬂuttertongue), fast, multiple dynamic swells, tremolo any notes in any octave

æ œæ

æ bœæ

æ nœæ

œ ææ

æ nœæ

œ ææ

æ #œæ

#œ æ

nœ ææ

bœ ææ

- tremolo very quickly (winds and brass ﬂuttertongue), multiple dynamic swells, any notes in any octave

ææ œ

& n œææ

æ bœæ

æ nœæ

œ ææ

æ nœæ

œ ææ

æ #œæ

#œ æ

- tremolo quickly (winds and brass double or triple tongue), slower dynamic swells

æ œ

& n œæ

æ bœ

œ æ

æ nœ

œ æ

æ nœ

- tremolo slower (winds and brass double or single tongue), slower dynamic swells

æ œ

æ bœ

æ nœ

œ æ

- fast pulses (winds and brass single tonguing)

æ œ

æ bœ

œ æ

- medium pulses, slow, longer swells

æ œ

æ bœ

- slow pulses, slow swells

˙ b˙ ˙ p

- very slow pulse, slow swells

˙ ˙ p

- very slow pulse

U w

& pp

- repeat 9 very slowly until everyone arrives on 9 - very slow dynamic swells, repeat in any octave

Quickening Score in C - Alto clef open score for chamber ensemble Jordan Nobles Play notes from each system, in any order, in any octave. Play each system for approx. 20 sec., then move on to the next system - tremolo as fast as possible (winds and brass ﬂuttertongue), fast, multiple dynamic swells, tremolo any notes in any octave

æ œæ

ææ œ

æ œæ

æ bœæ

ææ bœ

ææ nœ

æ nœæ

œ æ

æ #œæ

#œ ææ

nœ ææ

æ bœæ

- tremolo very quickly (winds and brass ﬂuttertongue), multiple dynamic swells, any notes in any octave

æ œæ

ææ nœ

æ nœæ

ææ bœ

æ bœæ

æ nœæ

ææ nœ

œ æ

æ #œæ

#œ ææ

- tremolo quickly (winds and brass double or triple tongue), slower dynamic swells

æ œ

B 3

æ nœ

æ œ

æ bœ

œ æ

æ nœ

- tremolo slower (winds and brass double or single tongue), slower dynamic swells

æ œ

B 4

æ œ

æ bœ

æ nœ

- fast pulses (winds and brass single tonguing)

æ œ

B 5

æ œ

æ bœ

- medium pulses, slow, longer swells

æ œ

B 6

æ œ

æ bœ

- slow pulses, slow swells

B 7

˙ b˙ ˙ p

- very slow pulse, slow swells

B 8

˙ ˙ p

- very slow pulse

U w

B 9 pp

- repeat 9 very slowly until everyone arrives on 9 - very slow dynamic swells, repeat in any octave

Quickening Score in C - Bass clef open score for chamber ensemble Jordan Nobles Play notes from each system, in any order, in any octave. Play each system for approx. 20 sec., then move on to the next system - tremolo as fast as possible (winds and brass ﬂuttertongue), fast, multiple dynamic swells, tremolo any notes in any octave

æ œæ

? 1

æ œæ

æ bœæ

æ b œæ

æ n œæ

æ nœæ

œ ææ

ææ #œ

æ #œæ

nœ ææ

æ bœæ

- tremolo very quickly (winds and brass ﬂuttertongue), multiple dynamic swells, any notes in any octave

æ œæ

? 2

æ n œæ

ææ nœ

æ bœæ

æ b œæ

æ n œæ

æ nœæ

œ ææ

æ #œæ

- tremolo quickly (winds and brass double or triple tongue), slower dynamic swells

? æ œ

æ nœ

æ œ

æ bœ

œ æ

æ nœ

- tremolo slower (winds and brass double or single tongue), slower dynamic swells

? æ œ

æ œ

æ bœ

æ nœ

- fast pulses (winds and brass single tonguing)

? æ œ

æ œ

æ bœ

- medium pulses, slow, longer swells

? æ œ

æ œ

æ bœ

- slow pulses, slow swells

? 7

˙ b˙ ˙ p

- very slow pulse, slow swells

? 8

˙ ˙ p

- very slow pulse

U ?

- repeat 9 very slowly until everyone arrives on 9 - very slow dynamic swells, repeat in any octave

9 pp

Quickening Score in Bb open score for chamber ensemble Jordan Nobles Play notes from each system, in any order, in any octave. Play each system for approx. 20 sec., then move on to the next system - tremolo as fast as possible (winds and brass ﬂuttertongue), fast, multiple dynamic swells, tremolo any notes in any octave

æ œæ

ææ œ

æ œæ

æ #œæ

#œ æ

bœ ææ

œ ææ

æ #œæ

nœ ææ

#œ ææ

nœ ææ

nœ æ

- tremolo very quickly (winds and brass ﬂuttertongue), multiple dynamic swells, any notes in any octave

æ œæ

æ nœæ

æ #œæ

#œ æ

bœ ææ

œ ææ

nœ ææ

ææ #œ

#œ ææ

- tremolo quickly (winds and brass double or triple tongue), slower dynamic swells

æ œ

& nœæ

æ nœ

œ æ

æ #œ

#œ æ

bœ æ

nœ æ

- tremolo slower (winds and brass double or single tongue), slower dynamic swells

æ œ

æ nœ

æ #œ

#œ æ

bœ æ

- fast pulses (winds and brass single tonguing)

æ œ

æ nœ

#œ æ

bœ æ

- medium pulses, slow, longer swells

æ œ

bœ æ

- slow pulses, slow swells

˙ & ˙ ˙ p

- very slow pulse, slow swells

˙ & ˙ p

- very slow pulse

U w

& pp

- repeat 9 very slowly until everyone arrives on 9 - very slow dynamic swells, repeat in any octave

Quickening Score in Eb open score for chamber ensemble Jordan Nobles Play notes from each system, in any order, in any octave. Play each system for approx. 20 sec., then move on to the next system - tremolo as fast as possible (winds and brass ﬂuttertongue), fast, multiple dynamic swells, tremolo any notes in any octave

æ œæ &

œ ææ

æ #œæ

nœ ææ

œ æ

#œ æ

æ #œæ

nœ ææ

#œ ææ

bœ ææ

nœ ææ

æ nœæ

- tremolo very quickly (winds and brass ﬂuttertongue), multiple dynamic swells, any notes in any octave

æ œæ

œ ææ

ææ #œ

nœ ææ

nœ æ

#œ æ

æ #œæ

nœ ææ

#œ ææ

bœ ææ

- tremolo quickly (winds and brass double or triple tongue), slower dynamic swells

æ œ

œ æ

nœ æ

æ #œ

#œ æ

nœ æ

æ #œ

- tremolo slower (winds and brass double or single tongue), slower dynamic swells

æ œ &

œ æ

nœ æ

æ #œ

#œ æ

- fast pulses (winds and brass single tonguing)

æ œ &

œ æ

nœ æ

æ #œ

- medium pulses, slow, longer swells

æ œ &

œ æ

- slow pulses, slow swells

˙ ˙ 7

˙ & p

- very slow pulse, slow swells

˙ 8

˙ & p

- very slow pulse

U w & pp

- repeat 9 very slowly until everyone arrives on 9 - very slow dynamic swells, repeat in any octave

Quickening Score in F open score for chamber ensemble Jordan Nobles Play notes from each system, in any order, in any octave. Play each system for approx. 20 sec., then move on to the next system - tremolo as fast as possible (winds and brass ﬂuttertongue), fast, multiple dynamic swells, tremolo any notes in any octave

æ œæ

œ ææ

æ #œæ

bœ ææ

æ œæ

nœ ææ

#œ æ

æ #œæ

nœ æ

nœ ææ

- tremolo very quickly (winds and brass ﬂuttertongue), multiple dynamic swells, any notes in any octave

ææ nœ

œ ææ

æ #œæ

bœ ææ

æ œæ

nœ ææ

#œ æ

ææ #œ

- tremolo quickly (winds and brass double or triple tongue), slower dynamic swells

æ & nœ

œ æ

bœ æ

æ #œ

æ œ

nœ æ

- tremolo slower (winds and brass double or single tongue), slower dynamic swells

æ œ

œ æ

bœ æ

æ #œ

nœ æ

- fast pulses (winds and brass single tonguing)

æ œ

œ æ

bœ æ

æ #œ

- medium pulses, slow, longer swells

æ œ

œ æ

bœ æ

- slow pulses, slow swells

˙ b˙ 7

˙ p

- very slow pulse, slow swells

˙ 8

˙ p

- very slow pulse

U w

& pp

- repeat 9 very slowly until everyone arrives on 9 - very slow dynamic swells, repeat in any octave

Quickening Score in G open score for chamber ensemble Jordan Nobles Play notes from each system, in any order, in any octave. Play each system for approx. 20 sec., then move on to the next system - tremolo as fast as possible (winds and brass ﬂuttertongue), fast, multiple dynamic swells, tremolo any notes in any octave

æ œæ

æ bœæ

œ æ

æ nœæ

œ ææ

bœ ææ

æ œæ

nœ ææ

œ ææ

#œ ææ

ææ bœ

bœ ææ

- tremolo very quickly (winds and brass ﬂuttertongue), multiple dynamic swells, any notes in any octave

æ nœæ

æ bœæ

œ æ

æ nœæ

nœ ææ

bœ ææ

ææ œ

nœ ææ

#œ ææ

- tremolo quickly (winds and brass double or triple tongue), slower dynamic swells

& nœæ

æ bœ

œ æ

æ nœ

œ æ

bœ æ

æ œ

nœ æ

- tremolo slower (winds and brass double or single tongue), slower dynamic swells

æ œ

æ bœ

œ æ

æ nœ

œ æ

bœ æ

- fast pulses (winds and brass single tonguing)

æ œ

æ bœ

œ æ

bœ æ

- medium pulses, slow, longer swells

æ œ

æ bœ

œ æ

bœ æ

- slow pulses, slow swells

˙ 7

b˙ & ˙ p

- very slow pulse, slow swells

˙ 8

& ˙ p

- very slow pulse

U w

& pp

- repeat 9 very slowly until everyone arrives on 9 - very slow dynamic swells, repeat in any octave

Surface Tension open score for chamber ensemble

Dedicated to Brian Eno

Jordan Nobles

Surface!Tension! open!score!for!chamber!ensemble! Jordan!Nobles!

About!the!Piece! Surface(Tension!was!premiered!by!the!Aventa!Ensemble,!directed!by!Bill!Linwood,!on!December!4,!2012.! The!original!Performance!included!Quickening,!Surface(Tension!and!Rogue(Waves!all!played!attacca.! ! Performance!Notes! Surface(Tension!involves!a!suspended!harmony!of!long!tones!and!slow!glissandi! • play!any!long!tone,!or!glissando,!in!any!order! • all!cells!can!be!played!in!any!octave!as!long!as!the!dynamics!are!observed! • what!cells!to!play,!and!when!to!play!them,!should!be!decided!by!each!musician!independently!as!long!as!they! are! responsive! to! the! other! players.! A! good! rule! is! to! stop! after! completing! a! cell! and! listen! for! a! moment! before!joining!in!again.!Musicians!in!smaller!ensembles!can!play!more!often!but!in!larger!ensembles!should!play! less!often!to!give!space!throughout!the!performance.! • there!is!no!pulse!or!synchronization!required!or!desired!

! Instrument!Specific!Notes! Winds!&!Brass:!only!play!glisses!that!work!well!on!your!instrument,!if!none!work!then!just!play!the!long!tones! Strings:!use!sul!ponticello!throughout! Percussion:!do!not!worry!about!the!glisses,!just!bow!long!tones!on!vibraphone,!crotales!and!various!cymbals! Guitar:!use!a!volume!pedal!and!an!ebow!for!the!swells,!and!bend!strings!or!use!a!slide!for!the!glisses! ! ! ! ! !

Surface(Tension(©!Jordan!Nobles,!North!Vancouver,!November!2012!!www.jordannobles.com!

Surface Tension Score in G Jordan Nobles

Play any cells, in any order, in any octave Long Tones - hold for 5-15 seconds or for the duration of a single breath or bow, no tremolo - (Percussion: bow vibes, crotales or cymbals; Strings: sul ponticello)

U & ˙

U ˙

U #˙

U ˙

U & ˙

U b & ˙

U & ˙

U ˙

Glissandi - mostly play glisses slowly but vary the speed occasionally, only play glisses that work well on your instrument - minor seconds

& ˙

gliss.

U ˙

& ˙

gliss.

U #˙

pp pp

& ˙

gliss.

& #˙

U ˙ pp

U ˙

pp pp

U ˙

gliss.

& b˙ pp

& ˙

gliss.

U b˙

pp pp

- minor thirds

& ˙

gliss.

U #˙

gliss.

& ˙

U ˙

& #˙

pp pp

gliss.

U ˙

& ˙

gliss.

U ˙

pp pp

gliss.

U #˙

pp pp

U ˙

˙ pp

gliss.

& #˙

pp pp

Rogue Waves open score for chamber ensemble

Dedicated to Brian Eno

Jordan Nobles

Rogue!Waves! open!score!for!chamber!ensemble! ! Jordan!Nobles!

About!the!Piece! Rogue&Waves!was!premiered!by!the!Aventa!Ensemble,!directed!by!Bill!Linwood!on!December!4,!2012.! The!original!performance!included!Quickening,!Surface&Tension!and!then!Rogue&Waves!all!played!attacca.! ! Performance!Notes! • each!of!the!50!cells!of!Rogue&Waves&has!a!set!of!pitches!which!are!to!be!performed!very!freely!and!expressively! • each!set!can!be!performed!ascending,!descending,!ascending!then!descending,!or!descending!then!ascending,! but!not!continuously,!just!play!it!once,!hold!the!last!note,!and!fade!out.!Then!proceed!to!another!set!of!pitches.! • play!cells!in!any!octave!as!long!as!the!range!is!comfortable!for!your!instrument!! • only!play!cells!that!work!well!for!your!instrument,!if!it!is!awkward!ignore!it!and!play!another! • what!cells!to!play,!and!when!to!play!them,!should!be!decided!by!each!musician!independently!as!long!as!they! are! responsive! to! the! other! players.! A! good! rule! is! to! stop! after! completing! a! cell! and! listen! for! a! moment! before!joining!in!again.!Musicians!in!smaller!ensembles!can!play!more!often!but!in!larger!ensembles!should!play! less!frequently!to!give!space!throughout!the!performance.! • there!is!no!pulse!or!synchronization!required!or!desired!

! For!example:!

could!be…!

or…!

or…! !

! Instrument!Specific!Notes! Percussion:!please!perform!on!mallets!instruments,!vibraphone,!marimba,!glockenspiel,!etc…! Guitar,!vibraphone!and!glockenspiel:!please!allow!as!many!notes!to!ring!as!possible! Strings:!no!more!sul!ponticello! ! !

Rogue&Waves&©!Jordan!Nobles,!North!Vancouver,!November!2012!!www.jordannobles.com!

Rogue Waves Score in G Jordan Nobles - quietly and very freely arpeggiate pitches up, down, up and down, or down and up (do not repeat) - play cells in any order, in any octave,

& #œ bœ

&œ œ

œ &œ

& œ bœ

#œ œ œ & 8

&œ

œ #œ œ &

11 12

œ & #œ bœ

& œ #œ

& bœ œ

#œ œ & œ

œ & œ œ #œ

& œ œ bœ

œ œ 14

& bœ

œœ

œœ &

&œ 21

œ œ &œ œ

bœ œ

bœ #œ œ

&œ

& 22

& œ œ œ bœ

œ #œ & œ œ #œ œ

& œ #œ œ bœ

œ œ & #œ œ

& œ œ œ bœ œ

œ bœ 25

œ 27

œ œ

& œ #œ

œ & œ bœ

& œ bœ #œ œ

& #œ

œ b œ &œ

œ 30

œœ

34 œ œ &œ & bœ œ & #œ œ & œ bœ œ & œ bœ œ œ #œ œ bœ œ œ œ 35 36 37 38 œ œ œ œ œ œ œ & œ #œ œ & & œ œ bœ & bœ œ œ œ b œ œ 39 40 41 œ œ œ #œ œ #œ 42 œ œ #œ œ b œ œ &œ &œœ & bœ œ œ & #œ œ œ œ b œ œ 43 45 #œ œ 44 bœ œ #œ œ 46 œ œ œ œ b œ b œ œ & #œ œ & #œ & œ #œ œ &œ

œ #œ

œ 47

œœ & bœ #œ œ œ

& bœ

œ bœ œ œ œ œ

œ #œ œ œ #œ b œ & #œ

œ bœ 50

œ œ œ #œ &œ

on a mote of dust suspended in a sunbeam open score for chamber ensemble

Dedicated to the Ethos Collective

Jordan Nobles

on!a!mote!of!dust!suspended!in!a!sunbeam! for!chamber!ensemble!

! About!the!Piece! on#a#mote#of#dust#suspended#in#a#sunbeam#was!commissioned!by!! The!Ethos!Collective!and!premiered!by!them!on!September!15,!2012.! ! PROGRAMME!NOTE! The! title! of! this! work! is! part! of! a! quote! by! Carl! Sagan! in! his! 1994! book! Pale! Blue! Dot! upon! regarding! the! final! photograph!from!the!Voyager#1!spacecraft,!which,!leaving!the!solar!system!and!becoming!the!farthest!man!made! object!from!Earth!(about!6!billion!kilometres),!turned!its!camera!toward!Earth!one!final!time!and!captured!it!as!a! tiny!blue!speck!in!the!empty!vastness!of!space.!! Carl!Sagan’s!full!quote!is!"From#this#distant#vantage#point,#the#Earth#might#not#seem#of#any#particular#interest.#But#for# us,# it's# different.# Consider# again# that# dot.# That's# here.# That's# home.# That's# us.# On# it# everyone# you# love,# everyone# you# know,#everyone#you#ever#heard#of,#every#human#being#who#ever#was,#lived#out#their#lives.#The#aggregate#of#our#joy#and# suffering,# thousands# of# confident# religions,# ideologies,# and# economic# doctrines,# every# hunter# and# forager,# every# hero# and# coward,# every# creator# and# destroyer# of# civilization,# every# king# and# peasant,# every# young# couple# in# love,# every# mother# and# father,# hopeful# child,# inventor# and# explorer,# every# teacher# of# morals,# every# corrupt# politician,# every# "superstar,"#every#"supreme#leader,"#every#saint#and#sinner#in#the#history#of#our#species#lived#there#–#on#a#mote#of#dust# suspended#in#a#sunbeam."! ! PERFORMANCE!NOTES! !

• One!player!(vibraphone,!piano,!or!marimba)!plays!the!main!pulse!continuously!and!keeps!time!for!the!ensemble.!!

• The! main! pulse! of! the! work! is! a! slowly! decellerating! and! descending! quarter! note! pulse! which! starts! at! F4!!!!!!!!!!!!! (F!above!middle!C)!at!120!beats!per!minute.!! • Every!30!seconds!or!so,!ON!CUE,!the!pitch!is!lowered!a!semitone!and!the!pulse!slows!approximately!5!beats!per! minute.! It! lowers! to! E4! at! 115! BPM;! then! D#4! at! 110! BPM;! all! the! way! down! to! F3! at! 60! BPM.! Once! at! F3! the! accompanying!musicians!drop!out!one!by!one!and!the!pulse!fades!out.!! For!example:!

• The!tempi!need!not!be!exact!as!long!as!the!piece!slows!appreciably!from!beginning!to!end.! • The!pulse!should!begin!and!end!the!piece.! • While!the!pulse!happens!all!musicians!perform!their!various!given!melodic!cells!in!any!order!in!time!with!the!main! pulse.! • EXCEPT!only!play!the!cells!on!the!Page!1!during!the!F4!pulse!and!the!cells!on!the!Page!2!during!the!E4!pulse,!etc.! Musicians!return!to!Page!1!at!the!C#!pulse,!and!continue!in!that!fashion!throughout.!The!final!F3!should!be!once! again!on!the!Page!1!cells.! • What!cells!to!play,!and!when!to!play!them,!should!be!decided!by!each!musician!independently!as!long!as!they!are! responsive! to! the! other! players.! A! good! rule! is! to! stop! after! completing! a! cell! and! listen! for! a! moment! before! joining! in! again.! Musicians! in! smaller! ensembles! can! play! more! often! but! in! larger! ensembles! should! play! less! often!to!give!space!throughout!the!performance.! • The!duration!of!the!piece!is!approx.!6!1/2!minutes!long!but!the!exact!tempo!of!the!pulse!and!the!exact!duration! of!each!interval!descending!semitone!need!not!be!exact.! on#a#mote#of#a#dust#suspended#in#a#sunbeam#©!Jordan!Nobles,!North!Vancouver,!August!2012!!www.jordannobles.com!

Lagrange Point open score for spatialized chamber ensemble

Dedicated to Neil deGrasse Tyson

Jordan Nobles

Lagrange!Point! for!spatialized!chamber!ensemble! !

About!the!Piece! Lagrange(Point(was!commissioned!by!the!Turning!Point!ensemble!and!premiered!on!June!21,!2012.! It!is!dedicated!to!Neil!deGrasse!Tyson.! ! PROGRAMME!NOTES! A!Lagrange!Point!(named!after!the!ItalianIFrench!mathematician!Joseph!Louis!Lagrange)!is!a! position!in!an!orbital!configuration!of!two!large!bodies!where!a!smaller!object,!affected!only!by!the! combined!gravitational!pull!of!the!two!large!masses,!can!be!stationary!relative!to!them!(such!as!a! satellite!with!respect!to!the!Earth!and!Moon).!It!is!a!point!in!space!where!the!object!can! theoretically!be!suspended!as!each!large!mass!!exerts!an!equal!influence!upon!it.!!This!piece!is!an! attempt!to!suspend!the!music!at!its!own!"Lagrange!point"!between!motion!and!silence.!! !

Performance!Notes! MELODIC!CELLS! • Lagrange(Point!is!made!of!numerous!melodic!cells.!Musicians!perform!any!cell,!in!any!order,!in!their! own!time,!as!expressively!as!possible,!for!the!durations!indicated.! • there!is!no!synchronization!required!or!desired!in!this!piece.! • what!cells!to!play,!and!when!to!play!them,!should!be!decided!by!each!musician!independently!as! long!as!they!are!responsive!to!the!other!players.!A!good!rule!is!to!stop!after!completing!a!cell!and! listen!for!a!moment!before!joining!in!again.!Musicians!in!smaller!ensembles!can!play!more!often!but! in!larger!ensembles!should!play!less!often!to!give!space!throughout!the!performance.! • the!duration!of!the!piece!is!variable!but!should!be!worked!out!ahead!of!time.!Players!should!decide! how!long!to!perform!and!how!to!end;!whether!stopping!all!together!or!dropping!out!one!at!a!time.! !

FORM! Ideally(the!piece!should!start!with!a!few!quiet!long!tones!played!by!the!sustaining!instruments!and,! after!a!short!time,!the!various!melodic!material!should!be!introduced.!Likewise!it!could!end!with!a! few!of!the!long!tones!trailing!off!and!fading!out!after!everything!thing!else!has!stopped.! !

SPATIALIZATION! Lagrange(Point(is!written!for!the!performers!to!be!spatially!spread!about!the!performance!space,! preferably!surrounding!the!audience.!While!it!is!not!vital!for!the!piece!to!be!performed!this!way,!a! spatial!distribution!of!musicians!will!greatly!enhance!the!effect!of!the!piece.! The!exact!layout!will!vary!depending!on!the!venue!and!is!not!important!as!long!as!they!are!evenly! distributed!throughout!the!space.!Balconies,!lofts,!etc.!can!also!be!utilized!as!well.!Also,!if!possible,! similar! instruments! (winds,! strings,! etc.),! should! not! stand! together! as! would! be! the! norm! in! an! orchestral! layout! but! instead! should! be! separated! so! each! member! of! the! group! is! in! a! different! area!of!the!venue!from!similar!instruments.!

Note:( It( may( be( beneficial( to( rehearse( the( piece,( at( first,( in( a( standard( layout( with( all( of( the( musicians(together.(Then,(once(the(piece(is(learned,(it(can(be(spread(out(and(rehearsed(in(a(spatial( configuration.( ( ( (

Lagrange(Point(©!Jordan!Nobles,!Regina/North!Vancouver,!June!2012!!www.jordannobles.com!

Spin open score for chamber ensemble

Written for the occasion of Redshift Musicâ&#x20AC;&#x2122;s 10th Anniversary

Jordan Nobles

Spin!

open!score!for!chamber!ensemble! ! About!the!Piece! Spin!was!conceived!in!early!2012!and!premiered!by!a!large!percussion!ensemble!spatially!situated!around!the!three! level! glass! atrium! of! the! Blusson! Spinal! Cord! Centre.! It! was! written! for! Redshift! Music! of! Vancouver,! British! Columbia!to!commemorate!their!10th!Anniversary.! ! Programme!Notes! Spin!was!inspired!by!the!perpetual!motion!of!celestial!bodies.!I've!always!been!fascinated!by!the!unique!orbits!of! moons,!planets,!comets,!asteroids,!and!stars.!The!musicians!in!this!piece!each!have!their!own!repeating!phrases! which!spin!around!each!other!at!different!rates!creating!a!swirling!chaos!which!hints!at!the!Grand!Celestial!clock!of! the!heavens.! ! Performance!Notes! In!Spin,!a!number!of!different!cells!are!given!which!are!to!be!repeated!for!at!least!15!seconds.!Musicians!can!choose! any!cell!to!play,!in!any!octave,!at!any!time!but!they!should!strive!to!not!play!the!exact!same!cell!as!another!musician! currently!is.!Also!they!should!play!each!cell!at!their!own!speed.!Avoid!rhythmic!synchronization.!! ! Everyone!reads!off!of!the!score.! !

The!piece!should!start!by!fading!in!from!silence!and!end!by!fading!back!out!to!silence.!The!duration!can!be!as!long!as! desired!but!should!be!agreed!upon!ahead!of!time.! ! MELODIC!CELLS! • Players! perform! whichever! cells! they! wish,! whenever! they! wish,! in! whichever! octave! desired! (as! long! as! the! dynamics!can!be!observed)! • Each!cell!should!fade!and!fade!out,!hiding!it’s!entrance!and!exit!as!much!as!possible! • Each!cell!should!be!performed!for!at!least!15!seconds!if!not!more! • Pause!only!briefly!between!cells,!the!sound!must!keep!going! • Only!perform!cells!suitable!for!your!instrument!! • Low!tones!may!be!played!straight!or!as!a!very!quiet!tremolo! • The!cells!with!chords!are!really!only!for!polyphonic!instruments!(guitar,!piano,!vibes,!harp,!etc.)!and!are!also!to!be! played!in!any!octave!as!long!as!no!intervals!are!inverted.!The!chord!must!be!kept!in!constant!motion!by!tremolo!or! arpeggiation.!! • Not!every!cell!has!to!be!played!in!a!performance.! INSTRUMENT!SPECIFIC!NOTES! Percussion!–!please!use!mallets!instruments!(vibes,!marimba,!glockenspiel,!etc.)!switching!instruments!occasionally! for!colour.!! Piano!–!please!use!lots!of!sustain.! Harp!]!the!pitch!set!is!D!Cb!B!|!Eb!F#!G!A#,!let!all!notes!ring.!Feel!free!to!improvise!a!quiet!gliss!or!two!here!and!there.! Guitars! –! use! a! clean! warm! tone! with! maybe! a! little! reverb.! A! volume! pedal! can! be! useful! but! is! not! obligatory.! Please!choose!fingerings!that!allow!strings!to!ring!as!much!as!possible.! Winds!–!use!your!main!instrument!mostly,!but!feel!free!to!double!on!an!alternative!for!occasional!colour!if!desired.!! ! SPATIALIZATION! Spin! is! written! for! the! musicians! to! be! spatially! spread! about! the! performance! space,! preferably! surrounding! the! audience.!Balconies,!lofts,!etc.!can!also!be!utilized!as!well.!The!exact!layout!will!vary!depending!on!the!venue!and!is! not!important!as!long!as!they!are!evenly!distributed!throughout!the!space.!! ! Note:! It! may! be! beneficial! to! rehearse! the! piece,! at! least! at! first,! in! the! standard! layout! with! all! of! the! musicians! together.!Then,!once!the!piece!is!learned,!it!can!be!rehearsed!in!a!spatial!configuration.! ! There!is!no!exact!rhythmic!coordination!required!in!this!work!so!as!long!as!everyone!can!hear!each!other!the!piece! can!be!performed!accurately.! Spin!©!Jordan!Nobles,!North!Vancouver,!January!2012!!www.jordannobles.com!

Still Life open score for chamber ensemble in 8+ parts

Dedicated to Marci Rabe

Jordan Nobles

Still Life Open Score for chamber ensemble Dedicated to Marci Rabe. About the Piece Originally written for large choir in 2006, Still Life was premiered on May 31, 2008 at the Vancouver Bach Choir’s National Competition for Large Choir Compositions (conducted by Bruce Pullan) where it took First Prize. Since then it has gone on to performances and success around the world including… - a performance by over 600 singers at the Mass Participatory Musicking Festival in Hong Kong - being chosen to represent Canada for the International Society of Contemporary Music’s 2009 World Music Days in Sweden This new Open Score version was created in February 2012. Program Note The inspiration behind Still Life is a desire to capture a single moment stretched over time. A frozen snapshot of life that doesn’t decay or fade. Still Life has no rhythmic motifs and no discernible melodies. It is a monolithic structure without overt movement, like a cloud, a sunset, or the tide. But on closer inspection, inside the stillness itself, there is always motion. Performance Notes - Still Life has eight separate lines to be performed so it can be performed by 8 or more winds, strings, etc or by two pianos or other polyphonic instruments (playing multiple lines) or any combination. - Players can double up on a part if there are more than eight players; As long as all parts are covered. - Still Life can be performed spatially, if desired, with the musicians surrounding the audience. Each bar has a timing number above it if using stopwatches to keep disparately placed musicians coordinated.

Still Life © Jordan Nobles, North Vancouver, 2006 (rev.2011) www.jordannobles.com

ĂŚther open score for spatialized ensemble

Inspired by, and dedicated to, Kelly Nobles

Jordan Nobles

æther!

open!score!for!spatialized!ensemble! !

Inspired$by,$and$dedicated$to,$Kelly$Nobles! !

About!the!Piece!

æther$was!completed!in!September!2011!in!North!Vancouver,!British!Columbia,!Canada.! The!duration!of!the!piece!varies!and!can!be!as!short!or!as!long!as!desired.! !

Program!Note!

The!æther!(also!spelled!aether!or!ether)!was!once!believed!to!be!the!material!that!fills!the!region!of!the! universe!above!the!terrestrial!sphere,!where!the!stars!reside.!Instead!of!the!vacuum!we!know!is!there!today! previously!it!was!imagined!that!a!vaporous!element!surrounded!the!Earth,!filled!the!heavens!and!was!the!very! breath!of!the!Gods.! !

Performance!Notes!

INSTRUCTIONS!

In!æther,!the!performers!are!given!numerous!phrases!to!play.!There!is!no!synchronized!score.! æther$should!begin!and!end!with!a!quiet!G!drone!and!last!for!whatever!duration!is!desired! • what!phrases!to!play,!and!when!to!play!them,!should!be!decided!by!each!performer!on!their!own!in!the! spur!of!the!moment.!Musicians!proceed!independently!performing!any!phrase!in!any!order.! • one!does!not!need!play!every!single!phrase.!In!fact!one!could!decide!just!to!play!the!G!drone!for!the!whole! piece!if!desired.! • all!phrases!should!be!soft!and!quiet!throughout!the!piece!! • some!phrases!can!be!performed!in!a!different!octave!if!desired!as!long!as!they!are!still!performed!quietly! • players!can!pause!between!phrases!to!breathe!and!to!listen!or!proceed!directly!to!another!phrase! • the!tempo!is!variable!but!each!phrase!should!only!last!as!long!as!a!single!breath!or!bow! • each!performer!plays!in!his/her!own!time!but!conscious!of,!and!responsive!to,!the!other!players!! • players!should!decide!ahead!of!time!how!long!to!perform!the!piece!and!how!to!end;!whether!stopping!all! together!or!dropping!out!one!at!a!time! • Performers!can!change!octaves!whenever!they!wish!to!as!long!as!they!only!do!so!after!each!phrase.! Phrases!should!stay!in!the!same!octave.! • Accidental!markings!apply!to!all!subsequent!incidences!of!the!note!in!the!same!phrase.! • Only!play!cells!suitable!for!your!instrument!! • Musicians!in!smaller!ensembles!can!play!more!often!but!in!larger!ensembles!musicians!should!play!less! often!to!give!space!throughout!the!performance.! • Long!tones!may!be!played!straight!or!as!a!very!quiet!tremolo!X!not!flutterXtongue,!however.! !

INSTRUMENT!SPECIFIC!NOTES!

Percussion!–!use!mallets!instruments!(vibes,!marimba,!etc.)!switching!instruments!occasionally!for!colour.!! Piano!&!Harp!–!please!use!lots!of!sustain!and!change!octaves!frequently.! Harp!X!due!to!the!chromatic!nature!of!the!lead!line!only!an!accompaniment!role!is!recommended!for!harpists! Guitars!–!use!a!clean!warm!tone!with!maybe!a!little!reverb.!A!volume!pedal!can!be!useful!but!is!not!obligatory.! Please!choose!fingerings!that!allow!strings!to!ring!as!much!as!possible.! Winds!–!use!your!main!instrument!mostly,!but!feel!free!to!double!on!an!alternative!for!colour!if!desired.!! Strings!–!vibrato!can!be!used!tastefully!and!please!vary!the!bow!position!occasionally!! Voice!–!Feel!free!to!improvise!vowels!and!consonants!either!melismatically!or!syllabically!within!the!cells.! ! æther$©!Jordan!Nobles,!North!Vancouver,!September!2011!!!!www.jordannobles.com!

SPATIALIZATION!

æther$is!written!for!the!musicians!to!be!spatially!spread!about!the!performance!space,!preferably!surrounding! the!audience.!Balconies,!lofts,!etc.!can!also!be!utilized!as!well.! While! it! is! not! vital! for! the! piece! to! be! performed! this! way,! a! spatial! distribution! of! musicians! will! greatly! enhance!the!effect!of!the!piece.! The!exact!layout!will!vary!depending!on!the!venue!and!is!not!important!as!long!as!they!are!evenly!distributed! throughout!the!space.!Also,!if!possible,!the!sections!should!not!be!together!as!would!be!the!norm!but!instead! should! be! separated! so! each! member! of! a! section! (violins,! etc)! is! in! a! different! area! of! the! space! from! the! others.!! Note:$It$may$be$beneficial$to$rehearse$the$piece,$at$least$at$first,$in$the$standard$layout$with$all$of$the$musicians$ together.$Then,$once$the$piece$is$learned,$it$can$be$spread$out$and$rehearsed$in$a$spatial$configuration.$ !

OPTIONAL!ACCOMPANIMENT!

æther$is!composed!to!be!performed!with!an!optional!accompanying!piano,!harp,!!glockenspiel!or! guitar.!The!attack/decay!sound!of!those!instruments!is!to!represent!the!‘stars’!in!the!æther.! • the!following!notes!can!be!played!in!any!order!but!conscious!of,!and!responsive!to,!the!musicians! playing!the!legato!phrases! • play!very!sparsely,!only!1!or!2!notes!at!a!time,!and!avoid!any!recognizable!pulse! • all!notes!should!ring!until!they!decay!naturally! • all!notes!should!be!very!soft!and!quiet!throughout!the!piece! • the!accompaniment!should!begin!after,!and!end!before,!the!other!musicians! ! !

“”

Pitches!for!the!piano,!harp,!guitar!or!glockenspiel:!

nœ #œ œ b œ n œ œ œ b œ œ œ # # œ œ œ œ b b œ œ œ œ & œ œ bœ œ œ bœ # œ œ œ bœ

! NOTE:!If!no!accompanying!instrument!is!available!but!‘stars’!are!still!desired;!fingers!cymbals!and/or!triangles! can!be!substituted,!performed!by!the!musicians,!as!long!as!there!are!at!least!8!triangles!and/or!finger!cymbals! spread!throughout!the!space.!! ! !

ALTERNATIVE!PERFORMANCE!IDEAS! • A!performance!can!start!with!the!musicians!together!on!stage!and!as!soon!as!the!piece!has!begun!they!can! slowly!spread!throughout!the!venue.!Or!alternatively!they!can!come!physically!together!by!the!end.! • or,!musicians!can!enter!the!stage!one!at!a!time!and!begin!playing.!Also!they!can!end!the!piece!this!way!in! reverse!with!each!player!gracefully!exiting!the!stage!after!finishing! • the! piece! could! instead! begin! with! the! piano,! or! other! instrument,! noodling! absentmindedly! with! the! above!pitches!before!a!concert.!The!G!drone!could!be!present!before!the!audience!even!enters!and!sits.! Gradually,! one! by! one! the! audience! will! figure! out! that! the! piece! has! already! started! and! once! they! are! quiet!the!musicians!could!then!enter,!already!playing.! • a!large!public!facility!(with!good!acoustics),!such!as!an!atrium!can!be!taken!over!by!the!ensemble!and!the! piece!used!as!an!installation!of!sorts!with!the!musicians!playing!while!dispersed!throughout.! ! æther$©!Jordan!Nobles,!North!Vancouver,!September!2011!!!!www.jordannobles.com!

Score in C

æther open score for chamber ensmble Jordan Nobles Inspired by, and dedicated to, Kelly Nobles

Freely q = approx. 60-90 All phrases molto legato

Begin with quiet drone

U w™

U 2 1

U & w pp w

Anyone can play the G drone at anytime during the piece as long as there are enough players keeping it going throughout and they perform it pianissimo

U w™

U #w ™

bw™ p

& ˙ ™ #œ w

˙ b˙

w œ ˙ bœ œ w b˙™

œ™ w

˙™ ˙ ™

& b˙ w

˙™ b ˙ ™

b˙ w

˙ w b˙

& ˙ #œj ˙

œ w

j œ w

œ ˙

b˙ p

j œ bœ ™ œ bœ œ bœ œ œ w 3

bœ ™ w ˙™ p

#œ œ bœ œ #œ ˙™

œ bœ œ ™ w

œ bœ œ #œ bœ ˙ ™ 3

& ˙™

bœ ™ œ w

œ bœ œ œ b œ w

bœ™ œ™ w

& ˙ #œ ™ bœ w p & œ™ bœj œ œ w

bœ ˙ ™ bœ w

œbœ™ œ w 30

œ™ bœ œ™ œ ™ #œj w J

œ ™ œ b˙ w

j #œ b œ bœ w œ œ™

U End with quiet drone which slowly fades away...

& w o pp

æther in C © Jordan Nobles, North Vancouver, September 2011 (revised Feb 2012) www.jordannobles.com

Score in C (Alto Clef)

æther open score for chamber ensmble Jordan Nobles Inspired by, and dedicated to, Kelly Nobles

Freely q = approx. 60-90 All phrases molto legato

Begin with quiet drone

U w B w

Anyone can play the G drone at anytime during the piece as long as there are enough players keeping it going throughout and they perform it pianissimo

U w™

U B bw ™

#U w™

2 3

b˙™

™ B ˙ #œ w

œ™ w œ ˙ bœ œ w

˙ b˙

p 3

b˙ w 10

B ˙™ b˙ ™

˙™ ˙ ™

b˙ w

˙ w b˙

˙ 14

˙ #œ ˙ 15 B J

œ ˙

b˙

œ w

œ w J

œ bœ ™ œ bœ œ bœ œ œ w J 3

bœ ™ w 18 B ˙™

œ bœ œ™ w

#œ œ b œ œ #œ ˙™ 19

œ bœ œ #œ bœ ˙ ™

3 3

bœ™ œ w B ˙™ 22

bœ ™ œ ™ w

œ bœ œ œ bœ w 3

bœ ˙™ bœ w ˙ #œ ™ bœ w 25 B

œ ™ œ b˙ w

œ bœ ™ œ w

œ™ bœJ œ œ w 29 B

œ™ b œ œ™ œ ™ #œ w J J

bœ #œ bœ w œ œ™ J

End with quiet drone

U B w pp

which slowly fades away...

æther in C (Alto Clef) © Jordan Nobles, North Vancouver, September 2011 (revised Feb 2012) www.jordannobles.com

Score in C (Bass Clef)

æther open score for chamber ensmble Jordan Nobles Inspired by, and dedicated to, Kelly Nobles

Freely q = approx. 60-90 All phrases molto legato

Begin with quiet drone

U ? w w

Anyone can play the G drone at anytime during the piece as long as there are enough players keeping it going throughout and they perform it pianissimo

U w™

? bU w™

U w™

U #w ™

2 3

b˙ ™

œ™ w

? ˙™ #œ w

˙ b˙

w œ ˙ bœ œ w 7

6 p

b˙ w ˙ ™ ˙™

? ˙ ™ b˙ ™

b˙ w

˙ w b˙

˙ 14

? ˙ #œ ˙ 15 J

œ ˙

b˙ œ w

œ w J

œ bœ ™ œ bœ œ bœ œ œ w J

œ bœ œ™ w

? 18

bœ ™ w ˙™

#œ œ bœ œ #œ ˙ ™ 19

œ bœ œ #œ bœ ˙™ 20

bœ ™ œ w

? ˙™ 22

bœ ™ œ™ w

œ bœ œ œ bœ w

? ˙ #œ ™ bœ w 25

b œ ˙™ bœ w 26

w œ bœ ™ œ

w œ™ œ b˙

? œ ™ bœ œ œ w 29 J

œ ™ bœJ œ ™ œ™ #œ w J

™ bœ #œ bœ w œ œ J

End with quiet drone

? U w pp

which slowly fades away...

æther in C (Bass Clef) © Jordan Nobles, North Vancouver, September 2011 (revised Feb 2012) www.jordannobles.com

Score in Bb

æther open score for chamber ensmble Jordan Nobles Inspired by, and dedicated to, Kelly Nobles

Freely q = approx. 60-90 All phrases molto legato

U & w w pp

Begin with quiet drone

U & ™ w

U w™

Anyone can play the drone at anytime during the piece as long as there are enough players keeping it going throughout and they perform it pianissimo

U w™

U w™ 4

U #w ™

˙ & ˙™ #œ w

œ ˙ œœ w

˙™

œ™ w

& ˙ w

˙™ ˙™

˙ ™ ˙™

˙ w ˙

˙ w

j & ˙ #œ ˙

œ w

j œ w

œ ˙

j œ œ™ œ œ œ œ œ œ w

3 3

œ™ w ™ ˙ p

œ œ œ™ w

#œ œ œ œ #œ ˙ ™

œ œ œ #œ œ ˙™ 3

œ™ œ w 22

& ˙™

œ œœœ œ w

œ ™ œ™ w

œ ˙™ 25

& ˙ #œ ™ œ w

œ w 26

œ œ™ œ w

œ™ œ ˙ w

j & œ™ œ œ œ w

œ ™ œJ œ ™ œ™ #œj w

j œ ™ œ #œ œ w

œ p

U End with quiet drone which slowly fades away...

& w pp

æther in Bb © Jordan Nobles, North Vancouver, September 2011 (revised Feb 2012) www.jordannobles.com

Score in Eb

æther open score for chamber ensmble Inspired by, and dedicated to, Kelly Nobles

Jordan Nobles

Freely q = approx. 60-90 All phrases molto legato

U w & w

Begin with quiet drone

Anyone can play the drone at anytime during the piece as long as there are enough players keeping it going throughout and they perform it pianissimo

U w™

U & w™

U w™

2 3

U #w ™

U #w ™ 5

#˙ ˙™ #œ w &

w œ ˙ œœ w

˙ ™ #œ ™ w

p 3

& ˙™ ˙™

˙ ™ ˙™

˙ w

˙ w ˙

˙ #œ ˙ #œ w & J

œ ˙ #œj w

œ œ™ œ œ œ œ œ œ w J

p 3

œ™ w 18 & ˙™

#œ œ œ œ #œ ˙ ™ 19

œ œ œ #œ œ ˙™

#œ œ œ ™ w

3 3

œ™ œ #w ™ 22 & ˙

œ ™ œ™ #w

œ œœœ œ w 3

˙ #œ ™ œ w 25

œ ˙™ 26

œ #w

w œ œ™ œ

w œ™ œ ˙

™ œœ œ w 29 & œ J

#œ ™ œJ œ ™ œ™ #œ w J

™ œ #œ œ w œ œ J

End with quiet drone

U & w pp

which slowly fades away...

æther in Eb © Jordan Nobles, North Vancouver, September 2011 (revised Feb 2012) www.jordannobles.com

Score in F

æther open score for chamber ensmble Jordan Nobles Inspired by, and dedicated to, Kelly Nobles

Freely q = approx. 60-90 All phrases molto legato

U & w w

Begin with quiet drone

Anyone can play the drone at anytime during the piece as long as there are enough players keeping it going throughout and they perform it pianissimo

U & w™

U w™

U™ w 3

U w™

U #w ™ 5

™ & ˙ #œ w

œ ˙ bœ œ w

œ™ w

˙™

˙ ˙ w

& ˙™ ˙™

˙ w

˙™ ˙ ™

˙ w

˙ w ˙

p 3

& ˙ # œj ˙

j œ w

œ ˙

œ w

j œ bœ ™ œ bœ œ bœ œ œ w

3 3

bœ ™ w 18 & ˙™

#œ œ œ œ#œ ˙ ™

œ œ œ™ w

œ bœ œ #œ bœ ˙ ™

p 3

œ™ œ w

œ™ œ ™ w

œ bœ œ œ œ w

˙™ p

& ˙ #œ ™ bœ w

bœ ˙™

œ w

œ œ™ œ w

œ ™ œ b˙ w

& œ™ bœJ œ œ w p

j œ ™ œ œ ™ œ™ # œj w

End with quiet drone

U & w pp

œ™ bœ #œ bœ w œ J

which slowly fades away...

æther in F © Jordan Nobles, North Vancouver, September 2011 (revised Feb 2012) www.jordannobles.com

Score in G

æther open score for chamber ensmble Jordan Nobles Inspired by, and dedicated to, Kelly Nobles

Freely q = approx. 60-90 All phrases molto legato

Begin with quiet drone

U & w w

Anyone can play the drone at anytime during the piece as long as there are enough players keeping it going throughout and they perform it pianissimo

U 1 & bw ™

U w™

U w™ 3

U w™

U w™ 5

7 6

& ˙™

œ w œ ˙ bœ œ w

b˙ ™

œ™ w

˙ b˙ w

& ˙ ™ b˙ ™

˙ ™ ˙™

b˙ w

˙ w b˙

j œ w

&˙

j œ˙

œ ˙

b˙ œ w

j œ bœ ™ œ bœ œ bœ œ œ w

& ˙ ™ bœ ™ w

œ œ bœ œ œ ˙ ™ 19

œ bœ œ ™ w

œ bœ œ œ bœ ˙™

p 3

bœ ™ œ ™ w

bœ ™ œ w 22

& ˙™

œ bœ œ œ bœ w

& ˙ œ ™ bœ w

bœ ˙ ™ bœ w

w œ bœ ™ œ

w œ™ œ b˙

j & œ ™ bœ œ œ w

œ ™ bœ œ ™ œ™ œ w J J

j ™ bœ œ bœ w œ œ

End with quiet drone

U & w pp

which slowly fades away...

æther in G © Jordan Nobles, North Vancouver, September 2011 (revised Feb 2012) www.jordannobles.com

Foreign Lands open score for spatialized chamber ensemble

Dedicated to Brian Eno

Jordan Nobles

Foreign Lands

open score for spatialized chamber ensemble About the Piece Foreign Lands was premiered by the Negative Zed ensemble and Contact Contemporary Music on April 5th, 2011 Performance Notes MELODIC CELLS • Foreign Lands is made of numerous melodic cells. Musicians perform any cell, in any order, in any octave, in their own time as expressive as possible, for the durations indicated. Only play cells suitable for your instrument! • there is no synchronization required or desired in this piece. • what cells to play, and when to play them, should be decided by each musician independently as long as they are responsive to the other players. A good rule is to stop after completing a cell and listen for a moment before joining in again. Musicians in smaller ensembles can play more often but in larger ensembles should play less often to give space throughout the performance. • cells with chords are only for polyphonic instruments (guitar, piano, vibes, harp, etc.). A minimum of 2 of the indicated notes must be played in any octave as long as no intervals are inverted. Either strike the chord just once and let it ring or optionally tremolo, arpeggiate, or ‘roll’ the chord. • the duration of the performance should be worked out ahead of time. Players should decide how long to perform and how to end; whether stopping all together or dropping out one at a time. INSTRUMENT SPECIFIC NOTES Percussion – please use mallets instruments (vibes, marimba, etc.) switching instruments occasionally for colour. Piano – please use lots of pedal and change octaves frequently. Also, you can occasionally play phrases in octaves or different phrases simultaneously in each hand if you are up for it. Guitars – use a clean warm tone with maybe a little reverb. A volume pedal can be useful but is not obligatory. Please choose fingerings that allow strings to ring as much as possible. Harp - As with guitar and piano, please do not damp notes but allow them to ring, even after moving to different cells. Winds – use your main instrument predominantly, but feel free to switch to doublings for occasional colour if desired. Strings – the cells with chords are for the piano, guitar and vibes but you can try a few as pizzicato arpeggios if desired. Voice – as the melodic material is based on a symmetrical scale, it can be transposed up or down a minor third and still be in the same key. If it helps for some phrases to rewrite in a different range then free feel to do so. SPATIALIZATION Foreign Lands is written for the performers to be spatially spread about the performance space, preferably surrounding the audience. While it is not vital for the piece to be performed this way, a spatial distribution of musicians will greatly enhance the effect of the piece. The exact layout will vary depending on the venue and is not important as long as they are evenly distributed throughout the space. Balconies, lofts, etc. can also be utilized as well. Also, if possible, similar instruments (winds, strings, etc.), should not stand together as would be the norm in an orchestral layout but instead should be separated so each member of the group is in a different area of the venue from similar instruments. Note: It may be beneficial to rehearse the piece, at least at first, in the standard layout with all of the musicians together. Then, once the piece is learned, it can be spread out and rehearsed in a spatial configuration. ALTERNATIVE PERFORMANCE IDEAS • Mimic: performers can play a game of mimicking other performers (i.e. if you hear someone play a trill play another trill, if you hear them play an echo or a fast repeated cell, play one as well). This can give the piece a semblance of form as players move from section to section together. • A performance can start with the musicians together on stage and as soon as the piece has begun they can slowly spread throughout the venue. Or alternatively they can come physically together by the end. • or, musicians can enter the stage one at a time and begin playing. Also they can end the piece this way in reverse with each player gracefully exiting the stage after finishing • the piece could instead begin with the piano, or other instrument, noodling absentmindedly with the above pitches before a concert. The musician(s) can be present before the audience even enters and sits. Gradually, the audience will figure out that the piece has already started and once they are quiet the other musicians enter, already playing. • a large public facility (with good acoustics), such as an atrium can be taken over by the ensemble and the piece used as an installation of sorts with the musicians playing while dispersed throughout. Foreign Lands © Jordan Nobles, North Vancouver, April 2011 www.jordannobles.com

Foreign lands

C and Eb Score

open score for chamber ensemble

Jordan Nobles

Play any cells, in any order, in any octave (as long as the dynamics can be observed) Long Tones - 5 to 10 seconds or for the length of a single breath or bow, optional tremolo, optional grace notes

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Simulacrum open score for chamber ensemble

Dedicated to Gavin Bryars

Jordan Nobles

Simulacrum

open score for chamber ensemble About the Piece Simulacrum involves a single rubato melody line performed by a soloist while accompanied by various melodic cells from the remaining ensemble members. When the soloist is finished the lead line another player can begin it, and then another if desired. Players can switch roles (become the soloist or accompanist) whenever desired as long as it is agreed upon beforehand. I recommend two or three iterations of the lead line. Duration is therefore variable. Everyone reads off of the score which is available in all keys and clefs. Performance Notes LEAD LINE • A soloist(s) performs the main ‘lead’ line in their own time as espressivo as possible. Don’t pause too long at each of the fermatas, as the piece must continue moving. • The melody line can be played in ANY OCTAVE as long as the dynamics can be observed and it can comfortably be played in tune. • Performers can change octaves whenever they wish to as long as they only do so after each phrase. Phrases should stay in the same octave. • Accidental markings apply to all subsequent incidences of the note in the same phrase. • When the soloist reaches the end of page four then the piece begins again with another player performing the lead line while the rest of the ensemble plays the melodic cells differently then in the first iteration. • As many players can take the melodic line as desired, although the order of soloists should be worked out ahead of time. MELODIC CELLS • The melodic cells above and below the lead line can be played in ANY OCTAVE as long as the dynamics can be observed. Cells above the lead line are in treble clef and below are in bass clef (for the lower instruments). • The melodic cells should always be slightly quieter than the soloist’s lead line. • Only play cells suitable for your instrument! • Players can perform whichever cells they wish as long as they are responsive to, and slightly quieter than, the soloist. • Players should try and play the cell vertically in line with the lead line. Not in synch, just begin the cell as the lead line passes it. A trick to this is to choose a cell ahead of the soloist, wait, and begin playing when the lead line catches up. • On subsequent iterations of the lead line the accompanying musicians should try to play different cells than they did the previous time through. • Musicians in smaller ensembles can play more often but in larger ensembles musicians should play less often to give space throughout the performance. • Long tones may be played straight or as a very quiet tremolo - not flutter-tongue, however. • The cells with chords are only for polyphonic instruments (guitar, piano, vibes, harp, etc.). A minimum of 2 of the indicated notes may be played in any octave as long as no intervals are inverted. Arpeggiating or ‘rolling’ the chord is optional. INSTRUMENT SPECIFIC NOTES Percussion – please use mallets instruments (vibes, marimba, etc.) switching instruments occasionally for colour. Piano & Harp – please use lots of sustain and change octaves frequently. Also, you can occasionally play phrases in octaves or different phrases simultaneously in each hand if you are up for it. Harp - due to the chromatic nature of the lead line only an accompaniment role is recommended for harpists Guitars – use a clean warm tone with maybe a little reverb. A volume pedal can be useful but is not obligatory. Please choose fingerings that allow strings to ring as much as possible. Winds – use your main instrument mostly, but feel free to double on an alternative for occasional colour if desired. Bass instruments – the cells below the lead line are in bass clef, but you may also choose from the treble clef cells as long as you play them relatively high in your range. Strings – vibrato can be used tastefully and please vary the bow position occasionally, the cells with chords are for the piano and vibes but you can try a few as pizzicato arpeggios if desired. Voice – while the lines are not written with vocals in mind, successful performances have been done. Feel free to improvise vowels and consonant sounds either melismatically or syllabically within the cells. ALTERNATIVE PERFORMANCE IDEAS • Players can divide the main melody up further (every page or even every rehearsal mark) and switch soloists more frequently. This may be a little harder to keep track of but it is quite effective and adds even more variety to the performance. • The piece can also be spatialized throughout the performance space with the players taking up positions surrounding the audience. There is no exact rhythmic coordination required in this work so as long as everyone can hear each other the piece can be performed accurately. • The piece can start as a solo piece with only one player on stage and then gradually other players enter (or are revealed somehow in the venue) with it becoming a full tutti by the 2nd iteration of the lead line. © Jordan Nobles, North Vancouver, April 2010 www.jordannobles.com

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grace open score for chamber ensemble

Dedicated to Ensemble Mujirushi

Jordan Nobles

grace open score for chamber ensemble or string orchestra

Jordan Nobles ABOUT THE PIECE • grace was written for, dedicated to and premiered by Ensemble Mujirushi on their 2009 European tour

PERFORMANCE NOTES • • • • • • •

players proceed independently performing any cell in any order (all cells are in the treble clef) players can pause briefly between cells or proceed directly with a different one all notes should be soft and quiet throughout the piece each performer plays in his/her own time but conscious of, and responsive to, the other players avoid playing any recognizable pulse cells can be played in any octave as long as they can be played softly and quietly on polyphonic instruments notes should be allowed to ring as much as possible, for instance, on the piano, the sustain pedal should be down throughout

GRACE NOTES • • •

grace notes can be slow or fast the speed at which one plays a grace note should vary throughout the piece the grace notes should be performed as if they were bubbles breaking on the still surface of a pond

HELD NOTES • • •

each held note should only last as long as a single bow do not stop a held note abruptly but rather place a diminuendo at the end very little to no vibrato should be used at all, if used it should be very slow

DURATION • • •

the duration of the piece can be as long or as short as desired players can decide ahead of time how long to play and how to end; whether stopping all together or dropping out one at a time players can decide how many cells to play each and the stop playing when after performing them drop out one at a time

ALTERNATIVE PERFORMANCE SUGGESTIONS • • •

players can perform either together on stage or spatially separated throughout the performance space or players can enter unto the stage and begin playing one at a time. Also they can end the piece this way in reverse with each player gracefully exiting the stage after finishing if conducted then the conductor can choose, on the spot, who enters and when, by cueing musicians to start or stop playing

grace

C Score

Jordan Nobles

Dedicated to Ensemble Mujirushi any cell, in any octave, in any order softly and quietly throughout

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grace ÂŠ Jordan Nobles, North Vancouver, September 2009 www.jordannobles.com

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grace

C Score (bass clef)

Jordan Nobles

Dedicated to Ensemble Mujirushi any cell, in any octave, in any order softly and quietly throughout

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grace ÂŠ Jordan Nobles, North Vancouver, September 2009 www.jordannobles.com

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grace

C Score (alto clef)

Jordan Nobles

Dedicated to Ensemble Mujirushi !

any cell, in any octave, in any order softly and quietly throughout

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grace ÂŠ Jordan Nobles, North Vancouver, September 2009 www.jordannobles.com

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grace

Bb Score

Jordan Nobles

Dedicated to Ensemble Mujirushi any cell, in any octave, in any order softly and quietly throughout

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grace ÂŠ Jordan Nobles, North Vancouver, September 2009 www.jordannobles.com

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grace

Eb Score

Jordan Nobles

Dedicated to Ensemble Mujirushi any cell, in any octave, in any order softly and quietly throughout

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grace ÂŠ Jordan Nobles, North Vancouver, September 2009 www.jordannobles.com

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grace

F Score

Jordan Nobles

Dedicated to Ensemble Mujirushi any cell, in any octave, in any order softly and quietly throughout

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fi œ bœ

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G Score

grace Jordan Nobles

Dedicated to Ensemble Mujirushi

U w

any cell, in any octave, in any order softly and quietly throughout

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U œ bœ b œ bw

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U bw

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U b œ b œ bw

bœ bœ œ

U œw

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ostinati open score for chamber ensemble

Dedicated to Brian Eno

Jordan Nobles

ostinati

open score for chamber ensemble Dedicated to Brian Eno Jordan Nobles ABOUT THE PIECE: ostinati was premiered by Motion Ensemble (Sackville, New Brunswick) on October 17, 2009 and released on the CD Undercurrents by Contact Contemporary Music (Toronto, Ontario)

PROGRAM NOTES: I have increasingly become interested in writing music in 'open score' - i.e. music not designed to be performed by any specific instrument but by any instrument or ensemble. I have found that the less restrictive and controlling I am in composing a piece the more I enjoy the listening experience. In ostinati, the musicians have a series of small melodies and ostinati to perform. Which to play, when they play them and in what octave to play them is entirely up to the musicians to decide in the moment. Therefore each performance is entirely unique. There is no overt form to the piece just a steadily shifting harmonic canvas. ostinati is inspired in part by Brian Eno's infamous Discreet Music and is dedicated to him.

PERFORMANCE INSTRUCTIONS: •

Each performance should begin and end with an ostinato and an ostinato should always be present throughout. If you are playing an ostinato do not stop playing it until someone else is playing one as well. Note: wind and brass instruments should not play the ostinati.

•

Performers play any cell, osinati or bass note in any order.

•

Everyone should play within the pulse provided by the ostinati players.

•

Each melodic cell should be chosen at random by each performer and repeated 4-8 times before either pausing for space or moving to another cell.

•

Performers are encouraged to vary octaves (within the mid-range of the instrument) and timbre when moving to a new cell.

•

Not all instruments need be playing at all times. Depending on the size of the ensemble some players can take a break and listen before joining in again.

•

The overall atmosphere should be relaxed and quiet. - There is no set duration to this piece. Play as long or as little as you wish.

•

players play in time with each other but can move to the next cells independently, making decisions on the spot about what cell to play and in what octave.

•

cells should be played in order and some may be skipped if desired.

•

two players playing the same cell at the same time need not line up exactly; in fact they should try to be out of phase with each other.

Score in C

ostinati Dedicated to Brian Eno Jordan Nobles

Ostinati - for polyphonic instruments (piano, guitar, harp, vibraphone, marimba, etc.). Repeat many times, let ring as much as possible q = 60

& ™™ œ #œ ™™ œ

œ œ ™™ & ™™

& ™™ œ#œ œ ™™

& ™™ œ #œ œ ™™

Melodic Cells - for all instruments. Repeat 4-8 times (always repeat in the same octave) q = 60

& ™™ ˙

™™

& ™™ œ™

™™

œ™ mp mp

œ #œ ™ & ™

˙™ ™™

& ™™ œ œ œ

œ œ #˙ œ ™ œ ™ &

™™

& ™™ œ #œ ˙

™™

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™™

& ™™

™™

Ó œ œ œ œ ˙™

p p

Bass Notes - for low instruments (piano, cello, guitar, bass, etc.).

? U w w

Use sparingly, do not repeat, octaves are not necessary

? U w w

? U w w mf

mf mf mf

Score in C (alto clef)

ostinati Dedicated to Brian Eno Jordan Nobles

Ostinati - for polyphonic instruments (piano, guitar, harp, vibraphone, marimba, etc.). Repeat many times, let ring as much as possible q = 60

œ#œ ™ œ ™™ B ™

B ™™ œ œ #œ ™™

B ™™ œ œ ™™

B ™™

œ #œ œ ™™

Œ œ™

Melodic Cells - for all instruments. Repeat 4-8 times (always repeat in the same octave) q = 60

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B ™™ œ™

™™

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B ™™ œ #œ ˙

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B ™™ œ œ œ œ ˙™

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p p

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? U w w

Use sparingly, do not repeat, octaves are not necessary

? U w w

? U w w mf

mf mf mf

Score in C (bass clef)

ostinati Dedicated to Brian Eno Jordan Nobles

Ostinati - for polyphonic instruments (piano, guitar, harp, vibraphone, marimba, etc.). Repeat many times, let ring as much as possible q = 60

? ™™ œ #œ œ ™™

? ™™ œ #œ ™™ œ

? ™™ œ œ ™™

? ™™ œ #œ œ ™™

Melodic Cells - for all instruments. Repeat 4-8 times (always repeat in the same octave) q = 60

? ™™ ˙

#w Ó

™™

? ™™ œ ™

œ™

™™

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? ™™ œ #œ

˙™

? ™™ œ œ œ

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? ™™ œ œ œ #˙ œ

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? ™™ œ #œ ˙

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™™

œ ? ™™ œ œ œ ˙™

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p p

Bass Notes - for low instruments (piano, cello, guitar, bass, etc.).

? U w w

Use sparingly, do not repeat, octaves are not necessary

? U w w

? U w w mf

mf mf mf

Score in Bb

ostinati Dedicated to Brian Eno Jordan Nobles

Ostinati - for polyphonic instruments (piano, guitar, harp, vibraphone, marimba, etc.). Repeat many times, let ring as much as possible q = 60

& ™™

™ œ #œ ™

#œ & ™™ #œ ™™

& ™™#œ#œ œ ™™

& ™™ #œ #œ œ ™™

œ mp

Melodic Cells - for all instruments. Repeat 4-8 times (always repeat in the same octave) q = 60

& ™™ ˙

™™

& ™™ œ ™ # œ ™

œ #œ

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œ #˙ ™

& ™™

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& ™™ œ œ #œ

œ #œ œ #˙ ™ # œ ™ &

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& ™™ œ #œ ˙

& ™™ œ #œ œ œ œ œ œ œ œ Ó p

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& ™™ # œ œ œ œ ˙ ™

™™

Bass Notes - for low instruments (piano, cello, guitar, bass, etc.).

? #U w #w

™™

? U #w #w

Use sparingly, do not repeat, octaves are not necessary

? U w w

? U w w mf

mf mf mf

Score in Eb

ostinati Dedicated to Brian Eno Jordan Nobles

Ostinati - for polyphonic instruments (piano, guitar, harp, vibraphone, marimba, etc.). Repeat many times, let ring as much as possible

# œ #œ ™™ & ™™

q = 60

#œ#œ ™ ™ œ ™ & ™

& ™™ œ œ #œ ™™

#œ #œ ™ œ ™™ & ™

Melodic Cells - for all instruments. Repeat 4-8 times (always repeat in the same octave) q = 60

#˙ ™ ™ &

#w Ó

™™

& ™™ œ ™

œ #œ & ™™

#œ ™

™™

œ #˙ ™

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& ™™ œ #œ #œ

& ™™ #œ œ #œ #œ #˙

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˙ & ™™ œ #œ

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mp mp

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™™

Bass Notes - for low instruments (piano, cello, guitar, bass, etc.).

U ? #w #w

& ™™ #œ œ œ œ ˙ ™

U ? #w #w

Use sparingly, do not repeat, octaves are not necessary

U ? w w

Score in F

ostinati Dedicated to Brian Eno Jordan Nobles

Ostinati - for polyphonic instruments (piano, guitar, harp, vibraphone, marimba, etc.). Repeat many times, let ring as much as possible q = 60

#œ & ™™ #œ œ ™™

& ™™ œ œ #œ ™™

& ™™

œ #œ ™™

#œ #œ œ ™™ & ™™

Melodic Cells - for all instruments. Repeat 4-8 times (always repeat in the same octave) q = 60

˙ ™ ™ &

#w Ó

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& ™™ œ™ #œ ™

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& ™™ œ #œ ˙

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& ™™ #œ œ œ œ ˙™

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p p

Bass Notes - for low instruments (piano, cello, guitar, bass, etc.).

? #U w #w

? U w w

Use sparingly, do not repeat, octaves are not necessary

? U w w

U ? w w mf

mf mf mf

Score in G

ostinati Dedicated to Brian Eno Jordan Nobles

Ostinati - for polyphonic instruments (piano, guitar, harp, vibraphone, marimba, etc.). Repeat many times, let ring as much as possible q = 60

œ & ™™ œ œ ™™

& ™™ œ œ œ ™™

& ™™

œ œ ™™

œ œ & ™™ œ ™™

Melodic Cells - for all instruments. Repeat 4-8 times (always repeat in the same octave) q = 60

& ™™ ˙

™™

& ™™ œ ™

™™

œ™

mp mp

& ™™ œ

œ œ

œ & ™™ œ œ

™™

Ó ˙™

& ™™ œ œ œ œ ˙

™™

& ™™ œ œ ˙

™™

mp mp

& ™™ œ œ œ œ œ œ œ œ œ Ó

™™

& ™™ œ œ œ œ ˙ ™

™™

p p

Bass Notes - for low instruments (piano, cello, guitar, bass, etc.).

? U w w

Use sparingly, do not repeat, octaves are not necessary

? U w w

w ? U w mf

mf mf mf

Undercurrents open score for chamber ensemble

Dedicated to Jerry Pergolesi and Contact

Jordan Nobles

Undercurrents open score for 4 or more instruments Premiered by Contact Contemporary Music in Toronto’s Royal Ontario Museum on June 15, 2008

Dedicated to Jerry Pergolesi and Contact About the Piece Undercurrents involves a single rubato melody line performed by a soloist while accompanied by reflections and echoes from the remaining ensemble members. When the soloist is finished the melody line another player can begin it, and then another if desired. DURATION Undercurrents varies in length depending on how many times the melody is repeated (2 min. to 10 min. recommended). Performance Notes MELODY LINE • The soloist(s) perform the main melody line in their own time as emotive as possible. •

The melody line can be played in ANY OCTAVE as long as the dynamics can be observed.

•

Performers can change octaves whenever they wish to as long as they only do so after each phrase. Phrases should stay in the same octave.

•

Accidentals are only good for the phrase they are in.

•

When the soloist is finished another player can take the solo line while the rest of the ensemble plays the echoes.

•

As many players can take the melodic line as desired. Although the order of soloists should be worked out ahead of time.

•

Do not wait to long at the fermatas. Keep the piece moving. For the most part the soloists can ignore the echoes around them and drive the piece along. The melodic line should be 1.5 to 2 minutes long.

REFLECTIONS • The melodic fragments above and below the melody line can be played in ANY OCTAVE as long as the dynamics can be observed. Fragments above the melody line are in treble clef and below are in bass clef. •

The fragments should always be slightly quieter than the soloist’s line.

•

Players can perform as many echoes as they wish as long as they are responsive to, and slightly quieter than, the soloist.

•

Players can also perform verbatim fragments of the main melody as well if they wish. As long as they are quieter than the soloist when doing so.

•

On repeats of the melodic line the accompanying musicians should try to play different cells than they did the previous time through.

ALTERNATIVE PERFORMANCE IDEAS • Spatial: Performers can be placed in different areas of the stage or performance space, as far apart from each other as possible; even surrounding the audience. As long as they are within hearing of each other. The reflections and echoes will therefore come from a different area of the room. •

Players can divide the main melody up further (every page, or every system) and switch soloists more frequently. This may be a little harder to keep track of but would add even more variety to the performance.

Nobles, New York, June 2008 www.jordannobles.com

Undercurrents

Score in C

Jordan Nobles

Dedicated to Jerry Pergolesi and Contact

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!" ! !

#" $

&" $

( ( &% '

#" $

" $

! &%

% %! +

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% -%

% -% %! %

% -' -'

% -% %!

% % %!

% %! +

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% % -% !

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% %!

% % #%

) % % &% '

#"$

#% %#% % #% % % #%+ % !

) * % % #' #%

% %

% #'

#% #% % % p

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a tempo

! -% % +

Undercurrents (Score in C) ÂŠ Jordan Nobles, New York, 2008 www.jordannobles.com

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Undercurrents (Score in C, Alto Clef) ÂŠ Jordan Nobles, New York, 2008 www.jordannobles.com

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Jordan Nobles

Dedicated to Jerry Pergolesi and Contact

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Undercurrents (Score in Bb) ÂŠ Jordan Nobles, New York, 2008 www.jordannobles.com

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Undercurrents (Score in Bb) ÂŠ Jordan Nobles, New York, 2008 www.jordannobles.com

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Undercurrents

Score in Eb

Jordan Nobles

Dedicated to Jerry Pergolesi and Contact 3

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Undercurrents (Score in Eb) ÂŠ Jordan Nobles, New York, 2008

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Undercurrents (Score in Eb) ÂŠ Jordan Nobles, New York, 2008

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Undercurrents

Score in G

Jordan Nobles

Dedicated to Jerry Pergolesi and Contact ! ! ! &"

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Undercurrents (Score in G) ÂŠ Jordan Nobles, New York, 2008

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Dedicated to Brian Eno

Jordan Nobles

C Score

Stasis

" " #" " " # " " " #" " #" "

for four or more instruments

freely and calmly

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Jordan Nobles

- performers may be either together on stage or spatially separated throughout the performance space - all performers begin together and then proceed independently - performers play any note in any order - each note should last as long as a single breath or a single bow - all notes at all times should be soft and quiet - attack/decay instruments (piano, vibraphone, etc) should wait until their note(s) have fully and naturally decayed before playing another - once played a note should not be immediately repeated - polyphonic instruments can play two notes at a time as long as those notes are spaced at least a fifth or more apart - each performer plays the notes in his/her own time but conscious of and responsive to the other players - avoid playing any recognizable pulse - notes cannot be played in different octaves, only in the octave shown

- no vibrato should be used at all - harmonics can be utilized as long as the resulting tone is one of the available notes and not an octave transposition - at the end of the piece, one player cues everyone to play their final note for its full duration Duration: whatever desired ÂŠ Jordan Nobles, North Vancouver, November 2007

C Score (8va)

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Jordan Nobles

Bb Score

Stasis

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Jordan Nobles

Bb Score (8va)

Stasis

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Jordan Nobles

freely and calmly

Eb Score

Stasis

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Jordan Nobles

Stasis

F Score

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for four or more instruments

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Jordan Nobles

ÂŠ Vancouver 2001

Jordan Nobles

for variable instrumentation quartet

Temporal Waves

Jordan Nobles

ppp

∑

...should be played as such: 5 sec. approx.

5 sec. approx.

ppp mf

∑

5 sec. approx.

e. = e

(= 270)

All notes should be allowed to ring out as much as possible.

After a new pulse is introduced all following players must line up homophonically with it.

- in Bold when a metric modulation occurs. For example:

Tempos are given... - when a new pulses enters, such as when one performer starts playing quarter notes while other were playing eighths. For example: (q = 135) This is not neccessary of course but is conveinient during practice when starting the piece in the middle.

METRIC MODULATIONS Temporal Waves utilizes metric modulations to frequenty chaneg pulse proportionally.

Players can play the cells in the octave written or one octave above or below (guitarists should play as written which of course transposes down an octave).

ppp

œœœœœœœœœ œœœœœœœœœ

5 sec. approx.

Players take their cue to start new cells from following the others. (i.e. when player 1 has completed their crescendo then player 2 begins)

Part 1

° ü & í¢™™ œ œ ™™î†

For example, the first cell...

Each cell should be approx. 15 seconds long (5 seconds fading in from ppp to mf ; repeat at mf for 5 seconds; then fade out again for 5 seconds to ppp. Then each player takes a short break (5 seconds or so) to listen and acquire the new tempo and then play their next cell.

CELLS In Temporal Waves each performer has a number of repeating cells to play; fading in and out completely before pausing and starting the next one. When exactly each performer stops and starts varies slightly with each performance, but it must line up homophonically with the other players. The duration of the piece can be anywhere from 6 to 10 minutes depending on how quickly the performers move through the cells.

All players read from the full score, there are no parts.

INSTRUMENTS Temporal Waves was originally written for guitar quartet but this version has been arranged for a variable instrumentation quartet. It can be played by 4 pianos, harps, guitars, vibraphones, marimbas or any combination as long as there are four performers.

PERFORMANCE NOTES

version for open score quartet

Temporal Waves

™™îü †

∑ ∑

∑

° í¢™™ œ œ bœ ˙

œ œ ™îü ° í¢™™ œ ™† bœ

∑

ppp

∑

continue dynamic swells

° í¢™™ œ ˙ ∑

∑

ppp

∑

™™îüÒ † (= 405)

bœ œ ° b œ í¢™™bœ

e=x

∑

continue dynamic swells

° í¢™™ œ œ ™™îü†Ò œ

continue dynamic swells

(e = 270)

∑

Jordan Nobles

° í¢™™ œ œ œ ™™îü†

3 œ3 ° í¢™™ bœ œ œ œ œ ™™îü†

3 ° í¢™™ œ bœ ™™îü† bœ 3

(e = 405)

ppp

™™îü †

continue dynamic swells

œ œ œ ™ü ° í¢™™ œ œ ™î†

œ ü œ œ ™™î †

∑

(q = 90)

∑

ppp

° í¢™™

(q = 135) b œ ° ™™îü í¢™™ œ œ †

ppp

œ œ œ œ ü ° ™™î í¢™™ †

e = e (= 270)

° & í¢™™ œ bœ œ œ

∑

Part 4

ppp

° í¢™™ œ œ œ ™™îü† œ

∑

Part 3

ppp

° í¢™™ œ œ œ ™™îü†

∑

ppp

Part 2

Part 1

° ü & í¢™™ œ œ ™™î†

e = 180 Repeat each cell for approx. 5 seconds

open score version

Temporal Waves

∑

bœ ° b œ ™ œ í &¢™

(e. = 108)

∑

(= 81)

∑

e. = e

(= 108)

∑

bœ ° í¢™™ œ œ ™™îü†Ò

∑

œ ° í¢™™ bœ bœ œ ™™îü†Ò bœ

™™îü †

bœ œ ° œ bœ ™™îü í¢™™ bœ †

∑

(x = 324)

œ œ œ ° í¢™™ bœ

° í¢™™ œ œ bœ ™™îü†

™™îü †

bœ œ ° ™ œ bœ ™™îü í¢™ †

œ(x =œ216) ° œ ™™îü í¢™™ †

œ œ ™™îü †

œb œ œ ™ ü ° ™ œ í¢™ ™î†

∑

° í¢™™ œ œ œj bœ

∑

(e = 162)

bœ bœ bœ ° bœ í¢™™

œ™ ° í¢™™ bœ ™ bœ ™ bbœœ ™™ ™™îü† bœ™

∑

bœ œ bœ œ œ ° b œ œ œ œ œ ™™îü í¢™™ †

° í¢™™ bœ œ ™™îü† œœ œ œ q_ x=q

° í¢™™ œ™ bœ ™ œ™ ™™îü†

™™îü †

∑

œ œ œœ œœ œœ œœ ™ ü ° ™ í &¢™ bœ œ R R ™î† R

(x = 432)

∑

q_ x=q

∑

(= 86)

∑

° í¢™™ # œ #˙ #œ

∑

(e = 172)

∑

° í¢™™#œ #œ œ ™™îü†Ò

∑

° í¢™™ #œ #œ ™™îü†Ò nœ

° í¢™™ #œ #œ ™™îü†

œ ™™îü †

∑

(e = 144)

° í¢™™ #œ #œ #œ #œ ™™îü†

° í¢™™ bœ œ bœ ™™îü† bœ

™™îü †

° ™™îü í¢™™ #œ œ ˙ †

° í¢™™ #œ œR#œ œR#œ œr ™™îü†

(= 432)

(x = 288)

∑

b™ œ n œ b œ ° í¢™

œ ° í¢™™ bœ nœ œ ™™îü†

™™îü †

∑

x=x

∑

(= 72)

° í¢™™ #œ œ œ #œ ™™îü†

# œ #œ ° #œ œ œ œ ™™îü ™ í¢™ †

∑

e. = q

° í¢™™ bœ b œ b œ b ˙˙

bœ ™ b œ ™ b œ ™ ™ ü ° ™ ™ í¢™ bœ ™î†

™™îü †

#œ œ œ œ #œ œ ™ ü ° ™î† &í¢™™

° b œ™ & í¢™™ bœ ™ b œ ™ œ™

(e. = 72)

(x = 230)

∑ ∑

∑

#œ œ ° í¢™™ œ œ

∑

j œ™

∑

j œ™

∑

œ™ J

e. = e

∑

(= 115)

j œ™

™™îüÒ †

° ü í¢™™ #œ œ ™™î†Ò œ œ

#œ ™ ° í¢™™ #œ ™ œ™ ™™îü†

(e. = 77)

° í¢™™ #œj™

∑

(e. = 115)

œ ™™ ° n ™ í¢™ œ #œ ™ ™™îü†

™™îü †

œ œ œ ° œ ™™îü í¢™™ #œ #œ #œ †

™™îü †

(x = 344)

∑

#œ ° í¢™™ œ#œ#œ ™™îü†

™™îü †

∑

° í¢™™ #œ œ œ œ œ

™™îü †

∑

° í¢™™#œ #œ œ œ #œ œ

° í¢™™ #œ #œ œ œ ™™îü† #œ

™™îü †

° &í¢™™ œ œ œ #œ œ # œ

° &í¢™™ #œ #œ œ #œ

∑

° í¢™™ #œ œ nœ ° í¢™™

™™îü †

∑

I (e = 180) 3 3 3 ° &í¢™™ nœ œ œ œ œ œ œ œ

(= 77)

#œ n˙ ™ ü ° ™ í œ ™î† &¢™

e. = q

œ 3

∑

° í¢™™ œ

™™îü †

∑

ppp

° í¢™™ œ

™™îü †

∑

™™îü †

∑

q_ x=q

∑

° í¢™™

(= 60)

° œœ ™™îü í¢™™ † œ n˙

˙˙ œœ ü ° ™ r J ™™î í¢™ œ œ †

e=e

(= 180)

#œ œ œœ œ ™ ü ° í¢™™ œ ™î† œ

° í¢™™ nœ œ œ œ

™™îü †

∑

(x = 308)

œ œ œ œœ œ ü œ œ ™™î†

∑

H œœ œœ ° í¢™™nœ œR œ œR œ œ œ œR ™™îü† R

ppp

n ˙˙ œœ

∑

fine

™™îüÒ †

Pulses open score for chamber ensemble

Dedicated to Andrew Reed Miller

Jordan Nobles

Pulses by Jordan Nobles

Information on the Piece ABOUT THE PIECE Pulses was written in March of 1999 for the Motion ensemble of Fredericton, New Brunswick, and has since been performed by them, Next New Music, Ensemble Symposium and other groups. The technique of ‘metric modulation’ is applied to a series of thirteen systems. Each system has it’s own key, character, and tempo. The players move through the open score independently, making decisions on the spot about which cells to play , when and in what octave, creating a different version of the piece with each performance. The piece is always recognizable even though no two performances sound exactly alike. INSTRUMENTATION Pulses can be performed by any 5 or more ‘melodic’ instruments. That is, instruments capable of chromatic melody (as opposed to drums or modal harps). Mixed ensembles are best but convincing performances can be made by groups with similar instrumentation. DURATION Although the recorded version of the piece (by Ensemble Symposium) is 16 minutes The duration of the piece can be adjusted to anywhere from 8-25 minutes long by adjusting, not the tempo, but how many cells the performers play in each system. (see performance notes) In the recorded version, each performer is playing 4-5 cells before moving on to the next system but they could play all of the cells or only one of them (per system) without changing the character of the piece. Playing all seven of the cells in each system is not recommended in mixed ensembles however, as some cells may prove to be awkward for some instruments and they should be able to skip them. It should be agreed upon ahead of time how many are cells are to be played and each player should stick with this decision. PROGRAM NOTES In Pulses, the technique of ‘metric modulation’; moving to a different pulse related to the current one, is applied to a series of thirteen sections, each in a different character and key. The players move through the open score independently, making decisions on the spot about which cells to play , when and in what octave, creating a different version of the piece with each performance.

Pulses by Jordan Nobles

Performance Instructions !

Pulses can be performed by any melodic instruments.

Players enter one at a time in any order starting with the first cell.

Cells should be played in any order, each one repeated for approx. 10 seconds

The repetitions should fade in and out over the 10 seconds

N = niente (as quiet as possible)

For example, cell #1 should sound like thisâ&#x20AC;Ś

Cells can be played in any octave as long as the dynamics can be maintained

Players should change octaves frequently

Some cells contain diads (such as #13). Single line instruments such as woodwinds playing these cells can choose to play either note during each repetition. Polyphonic instruments are encouraged to play both notes.

Players move through the piece independently but no player should be too far ahead.

Each system is a different pulses rate. Related to the one before it and the one after it but not necessarily to any other systems. So all performers SHOULD BE ON THE SAME SYSTEM before anyone moves on to the next.

When switching from one system (pulse) to the next, all players should agree on where that pulse is and synchronise with each other. Basically whomever moves first onto the new system establishes the beat.

Performers need not play all the cells. they should play between 1 to 6 from each system but they should still proceed in order if at all possible. Performers should agree on how many cells to play in each performance and play the same amount as each other to ensure that they more easily stay together throughout the piece. The duration of the piece can be modified in this way. If an ensemble is playing 5-6 cells per system the piece could last up to 25 minutes but if they only play 1-2 cells per system then the piece would be considerably shorter, about 8 minutes.

When the final cell (#78) has been reached, the players should repeat it (fading in and out in different octaves) until everyone has arrived on it, then each player fades out at their discretion.

Jordan Nobles, Vancouver, March 1999

Parallel II open score for attack/decay instruments

Dedicated to Brian Eno

Jordan Nobles

Parallel II Performance Notes ABOUT THE PIECE ! Parallel #2 is an open score piece for multiple bell-like instruments (more than three recommended) that decay naturally after the initial attack (e.g. piano, guitar, vibraphone, chimes, harp, glockenspiel, crotales, etc.) !

each performer plays the notes in his/her own rhythm but conscious of and responsive to the other players

avoid playing any recognizable pulse

Stay within the same general area as the other players, it will grow more dissonant the farther away you stray.

The notes can be played in any octave, with some exceptions

The group of notes in the circles should be played in the same octave together, and the group of notes in the boxes should be played in the octave written. If those notes are not available on your instrument then play in the nearest octave available

If playing on a guitar, the fingering should be considered so that notes can be allowed to ring out and overlap

Do not use vibrato. Bell-like sounds should be the goal

Harmonics can be utilized if using guitars or harps as long as the octave rules can be observed

At the systems that say “Hum any X notes” each player picks any note and after they play it with their instrument they begin to hum it, (in any octave necessary) for the length of a full breath, while continuing to play the piece. The hummed note should fade in and fade out so as to hide it's entrance and exit

ALTERNATIVE PERFORMANCE IDEAS A) Performers could enter the stage one at a time and begin playing, exiting quietly and independently after finishing their last note. If the piece is performed this way then there is a new rule. The first system should be repeated until all players have entered and begun to play. This prevents the initial players from getting too far ahead. B) Spatial: Performers are placed in different areas of the stage, as far apart from each other as possible. Possibly even surrounding the audience or in different rooms of a gallery space.

Parallel II (for multiple 'impulse-decay' instruments) slowly and freely

Jordan Nobles

w #w ========================= & w w w #w #w _w _w __w = #w #w #w w #w #w w w w #w ========================= & # _w w = # _w

# _w n) w #w w ( #w #w w w #w #w #w #w= ========================= & (n)w # _w Hum any 1 note on this system

w w bw w w #w #w w w= w w ========================= & bw w _ _ # _w w b_ w _ w _ w _ _ _ bw w w bw w w w w #w= ========================= & _w bw _ _ w _w Hum any 2 notes on this system

# __w w w _ w w #w w #w w w w #w ========================= & = __ #w _w highest D# possible

Hum any 3 notes on this system

lowest E possible on your instrument

Parallel II (page 2)

#w w #ww #ww #ww ##ww #ww #ww ##ww ww #ww #ww ========================= & # __ww= Hum any 3 notes on this system

w w w #w w #w w #w w w w w w #w #w w w w _w bw w = ========================= & # w #w w Hum any 2 notes on this system

_w w w #w #w bw bw w w w #w ========================= & w bw w w w #w = __w _w _ _w #_ #_ _w _w _w # _w w #w w #w #w w w w ========================= & #w #w #w w = #_ _w #_ _w Hum any 1 note on this system

w _ w ___w #_ w _ _ _ _ _ _w _w _w _ _ _ w w #w w w ========================= & w =” w #w w w _w _w _ _w highest E possible

Jordan Nobles, June 1997, Vancouver

Quaver open score for chamber ensemble

Dedicated to Scott Wilson

Jordan Nobles

Quaver open score for chamber ensemble Jordan Nobles ABOUT THE PIECE Quaver was written for Ensemble Symposium and premiered by them on January 23rd, 1997 in Burnaby, BC. PERFORMANCE NOTES • Quaver is made of numerous cells with eighth note pulses which are to be repeated for 5-10 seconds before moving on to a new one. • each cell should start as quiet as possible, crescendo to mf, and then fade out to as quiet as possible. For example Cell #1 1

& ™™ o

j bœmf

™™ o

Should sound like: 1

approx. 5 - 10 seconds

& bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ o o mf

• cells can be played in any octave. • players play in time with each other but can move to the next cells independently, making decisions on the spot about what cell to play and in what octave. • cells should be played in order but some may be skipped if desired. • musicians can switch to their next cell whenever they finish one but should not venure more than 5 or 6 cells beyond the last player. • two players playing the same cell at the same time need not line up exactly; in fact they should try to be out of phase with each other. • there should be no accents other than those indicated and a slight one at the beginning of each cell. • when there at two notes at once single line instruments can pick whichever note to play but it must be consistent throughout all repeats. • at the final cell (#62) musicians can either drop out or repeat the cell, fading in and fading out in different octaves until the last player has reached the end.

Score in C (treble clef)

Quaver open score for 4 or more instruments Jordan Nobles

Driving e = 200+ Repeat each cell for 5-10 seconds, in any octave 1

& ™™ bœj o mf

™™ & ™™ o o

& ™™ bœ-

-œ J

4 ™™ & ™™ bœ ™™ & ™™ J o continue dynamic swells

œ- ™™ & ™™ œ -

j œ-

œ- ™™ & ™™ œ bœ ™™ & ™™ œ

™™ & ™™

-œ J

™™

œ ™™ & ™™ œ

œ ™™

continue legato

12 13 14 15 œ œ œ > œ œ œ œ ™ ™ ™ œ ™ ™ œ œ ™ ™ œ ™ ™ ™™ ™ & ™ œ™ & ™ œ ™ & ™œ & ™œ œ™ & ™

œ œ 20 17 18 œ 19 œ œ œ œ ™™ & ™™ œ ™™ & ™™ œ œ œ ™™ & ™™ œ œ œ œ ™™ & ™™ >œ œ œ ™™ & ™™ œ œ œ

œ 22 24 œ > # œ œ œ œ œ > ™ 23 ™ œ œ ™ ™ ™ ™ ™ & ™ & ™ œ #œ ™ & ™ œ >œ œ #œ ™ & ™™ œ œ œ #>œ ™™ >œ

26 27 œ #œ œ 28 œ œ œ œ œ œ #œ œ œ ™™ & ™™ œ # œ #œ œ ™™ & ™™ œ œ œ #œ ™™ & ™™ œ #œ œ ™™ & ™™ #œ

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

2 Score in C 29

30 #>œœ œ œ ™ 31 ™#œ œ œ œ #œ œ œ ™ 32 ™ œ #œ œ œ ™ # œ œ ™ ™ # œ ™ & ™ œ #œ œ œ ™™ & ™#œ œ œ œ ™ & ™ œ #œ ™ & ™ #œ

Staccato 33

. #œ. 34 œ . & ™™ #œ #œ. œ. ™™ &

35 36 37 . #œ. . . œ œ ™™ #œ œ #œ. ™™ & ™™ #œ #œ œ œ ™™ & ™™ œ #œ ™™ & ™™ #œ #œ ™™ > œ œ #œ

continue staccato

40 41 42 # œ # œ # œ œœ œ # œ # œ # œ ™™ & ™™ œ#œ œ##œœ œ œ ™™ & ™™#œ#œœ œ ™™ & ™™# >œ #œ œ ™™ & ™™#œ œ œ œ ™™ & ™™ > > >

œ bœ bœ œ bœ œ ™ 44 ™ bœ œ ™ 45 ™ bœ bœ ™ 46 ™bœ bœ ™ 47 ™ bœ bœ bœœ œ œ ™ ™ ™ & ™ ™ & ™ ™ & ™ ™ & ™ bœ ™ & ™ œ

Legato

b -œ b -œ -œ 50 51 52 œ œ™ b œ b œ b œ b œ b œ ™ œ ™ ™ œ ™ ™ ™ ™ ™ ™ b œ b œ b œ œ b œ b œ ™ b œ ™ ™ b œ ™ ™ ™ ™ b œ ™ ™ ™ & œ- -bœ - & & & & œ œ b œ- continue legato

j & ™™ œ

55 57 b œ œ bœ œ œ œ 56 b œ b œ b œ ™™ & ™™ J ™™ & ™™ œ œ ™™ & ™™ œ bœ œ œ ™™ & ™™ œ ™™ > >

& ™™ bœ

bœ

™™ & ™™ œ

œ ™™ & ™™ bœJ ™™ & ™™

œ J

™™ & ™™ j ™™ bœ Repeat final cell (#62) in different octaves until all instruments arrive, then drop out individually.

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

Score in C (alto clef)

Quaver open score for 4 or more instruments Jordan Nobles

Driving e = 200+

Repeat each cell for 5-10 seconds, in any octave 1

B ™™ bœJ o mf

b -œ

™™ B ™™ o o

-œ -œ 7 ™™ B ™™

B ™™

-œ J

b -œ 4 ™™ B ™™ J ™™ B ™™ o continue dynamic swells 3

-œ ™ 8 ™ œ b œ ™ 9 ™ œ ™ B ™ ™ B ™

-œ J

™™ B ™™

œ ™ 10 ™ œ ™ B ™

-œ J

™™

continue legato

œ œ 15 12 14 œ œ œ ™ >œ ™ 13 ™ œ œ œ ™ ™ ™ œ ™ ™ ™ ™ B ™œ B œ B œ œ B B ™ ™ ™ œ ™ ™ ™ ™ ™ œ ™

>œ œ œ œ 20 œœœ 17 18 19 œ œ œ œ œ œ ™™ B ™™ œ ™™ B ™™ ™™ B ™™ œ œ œ œ ™™ B ™™ œ œ ™™ B ™™ œ

œ 22 > > 23 24 > B ™™ œ œ #œ œ ™™ B ™™ œ œ œ œ ™™ B ™™ œ œ œ #œ œ ™™ B ™™ œ œ œ œ ™™ #>œ #>œ

# œ œ 26 œ 28 27 œ # œ B ™™ œ #œ œ ™™ B ™™ œ œ œ œ #œ œ ™™ B ™™ œ #œ œ ™™ B ™™ œ #œ œ #œ œ œ ™™

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

2 Score in C

œ œ# œ œ 31 32 > œ # œ #œ #œ œ ™™ B ™™ #œ #œ œ œ œ œ œ ™™ B ™™ œ #œ œ #œœ #œ œ œ ™™ B ™™ #œ œ œ œ œ ™™ B ™™

>œ œ # œ #œ#œ œ œ 36 37 # œ # œ ™™ B ™™ œ ™™ B ™™ œ ™™ B ™™ #œ. #œ œ. œ #œ. ™™ B ™™ œ. #œ. #œ. œ. #œ ™™ B ™™ #œ . . . Staccato

continue staccato

B ™™ #œ#œœ œ ™™ B ™™##œœ#œ œ ™™ B ™™ #œ œ œ#œ œ#œ ™™ B ™™ #œ#œ œœ#œ œ ™™ B ™™ œ#œ œ##œœ œ œ ™™ > > > >

44 45 46 47 b œ b œ œ œ œ b œ œ b œ ™ b œ ™ ™ ™ ™ b œ ™ ™ ™ B ™ ™ B ™ bœ ™ B ™ ™ B ™ bœ ™ B ™™ bœ bœ bœ bœœ œ œ œ ™™

Legato

-œ - b-œ b -œ b -œ 49 b -œ -b-œ -œ 50 51 52 œ œ ™™ B ™™bœ œ b-œ b-œ ™™ B ™™bœbœ œ ™™ B ™™bœbœ bœ ™™ B ™™ bœbœ œ ™™ B ™™ b-œ bœ œ œ

continue legato

54 55 57 bœ œ bœ œ ™ œ œ ™ 56 ™ j b œ b œ b œ ™ ™ ™ ™ ™ ™ B ™ œ ™ B ™ J ™ B ™œ œ œ ™ ™ B ™ œ bœ œ œ ™ B ™™ > >

B ™™ bœ

bœ

™™ B ™™ œ œ

60 61 ™™ B ™™ bœj ™™ B ™™ œ J

™™ B ™™ bœ J

™™

Repeat final cell (#62) in different octaves until all instruments arrive, then drop out individually.

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

Score in C (bass clef)

Quaver open score for 4 or more instruments Jordan Nobles

Driving e = 200+ Repeat each cell for 5-10 seconds, in any octave 1

? ™™ b-œ J o mf

™™ ? ™™ o o

-œ J mf

-œ 4 b ? ™™ ™™ J ™™ ? ™™ o continue dynamic swells 3

-œ J

™™ ? ™™

-œ J

™™

œ œ 7 8 9 10 ? ™™ bœ -œ ™™ ? ™™ -œ -œ ™™ ? ™™ œ bœ ™™ ? ™™ œ œ ™™ ? ™™ ™™

continue legato

>œ œ œ œ 12 13 14 15 œ œ œ œ œ œ œ ? ™™ œ ? ? ? ™™ ™™ ™™ ™™ ™™ ™™ œ ™™ ? ™™ œ œ œ ™™

? ™™

œœ œ œ œ

œœ 18 19 20 œ ? > œ œ œ œ œ œ ? ? ? ™™ ™™ œ œ œ ™™ ™™ œ œ ™™ ™™ œ ™™ ™™ œ ™™ 17

œœœ > œ œ > 22 23 24 œ > œ > œ œ œ œ #œ ™™ ? ™™ >œ œ #œ #œ ™™ ? ™™ œ œ #œ ™™ ? ™™ ™™ ? ™™ œ

œ # œ œ 26 œ œ œ œ œ 27 œ #œ œ #œ œ œ 28 œ œ ? ™™ œ #œ œ ™™ ? ™™ #œ ™™ ? ™™ #œ ™ ? ™™ ™™ œ #œ œ ™

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

2 Score in C

œ œ 30 œ œ# œ œ 31 32 # œ œ œ œ # œ ? ™™ #œ œ #œ #œ œ ™™ ™™ ? ™™ œ #œ œ #œœ œ œ ™™ ? ™™ #œ œ œ œ œ ™™ ? ™™ # œ >

Staccato

>œ œ 36 . . œ. . # œ. 34 œ. # œ. # œ. œ. . 35 # œ # œ #œ ™™ ? ™™ #œ#œ œ ™™ ? ™™ œ#œ œ ™™ 37? ™™ œ# œ # œ ™™ ? ™™ #œ œ ™™ ? ™™

continue staccato

>œ œ 39 ##>œœ #œ œ 40 #œ œ œ# œ œ# œ 41 >œ #œ œ ##>œœ œ œ 42 # œ # œ ? ™™ #œ ™™ ? ™™ ™™ ? ™™ ™™ ? ™™#œ œœ#œ œ ™™ ? ™™ ™™

bœ bœ bœ 43

b œ b œœ œ œ 47 b œ b œ b œ œ ™™ ™™ ? ™™ ™™ ? ™™ 46

? ™™ œ bœ bœ œ bœ œ ™™ ? ™™ bœ œ ™™ ? ™™

Legato

-œ- b-œ b -œ b-œ 49 -œ b-œ b œ œ œ 51 b œ bœ bœ 52 bœ œ 50 b b œ b œ ? ™™ œb-œ b-œ ™™ ? ™™b-œ -œ bœœ- ™™ ? ™™ ? ™™ œ ™™ ? ™™ œ ™ ™™ ™ b œ - -

continue legato

bœ b œ œ œ 56 > bœ œ > b œ 57 bœ 55 œ œ ™™ ? ™™ œ bœ œ œ ™™ ? ™™ œ ™™ ? ™™ J ™™ ? ™™ œ ™™ ? ™™ œ J

œ 59 60 ? ™™ bœ bœ ™™ ? ™™ œ ™™ ? ™™

bœ J

™™ ? ™™

œ J

™™ ? ™™

bœ J

™™

Repeat final cell (#62) in different octaves until all instruments arrive, then drop out individually.

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

Score in Bb

Quaver open score for 4 or more instruments Jordan Nobles

Driving e = 200+ Repeat each cell for 5-10 seconds, in any octave 1

& ™™ o

j œ-

™™ & ™™ o o

-œ J mf

-œ J

™™ & ™™ ™™ & ™™ o continue dynamic swells

j œ-

™™ & ™™

-œ J

™™

7 8 9 10 ™ œ ™ ™ ™ ™ œ ™ ™ ™ œ ™ & ™ œ- œ ™ & ™ œ ™ & ™ œ œ ™ & ™™ œ œ ™™ & ™ -

continue legato

œ #œ œ 12 14 15 >œ 13 œ # œ # œ œ œ œ œ ™™ & ™™ ™™ œ ™™ & ™™ œ ™™ & ™™ #œ œ ™™ & ™™ & ™™ œ

œ 20 # œ œ 19 œ œ #œ #œ ™ ™™ & ™™ #œ #œ œ œ ™™ ™ & ™™ œ & ™™ œ #œ œ œ ™™ & ™™ # œ >œ #œ œ ™™ & ™™ œ

24 œ # œ 22 > # œ # œ #œ œ #œ > ™ 23 ™ #œ œ > ™ œ ™ ™ ™ ™ ™ # œ ™ ™ ™ œ ™ ™ œ ™ ™ œ #œ ™ & & #œ & #œ > œ #>œ & #œ

œ #œ # œ 28 26 27 #œ œ ™ œ œ œ œ œ œ # œ # œ ™ ™ ™ # œ œ ™ ™ # œ ™ ™ œ œ œ ™ ™ & ™ & ™ œ #œ œ ™ & ™ #œ ™ & ™ #œ

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

2 Score in Bb

>œ œ 31 #œ œ œ œ # œ œ #œ 32 #œ 30 # # œ # œ ™™ & ™™ œ #œ #œ œ #œ ™™ & ™™ #œ #œ œ œ œ œ ™™ & ™™ œ #œ œ #œ œ ™™ & ™™ #œ

Staccato 33

. . bœ. . œ. b œ ™™ bœ œ ™™

. œ. . . >œ œ 36 35 37 b œ b b œ b œ bœ œ ™™ . b œ b œ b œ ™ ™ ™ ™ ™ ™ ™ b œ b œ b œ ™ ™ ™ ™ ™ ™ ™ & & œ & bœ & bœ

continue staccato

39 > b œ & ™™ bœ b œ œ ™™ &

œ ™ ™ &

40 >œ b œ 41 b œ b œ œ œ œ œ 42 œ b œ ™™ bœ œ œ ™™ & ™™ bœ œ œ ™™ & ™™ ™™ &

b œ œ œ bœ œ

44 45 46 47 bœ ™™ & ™™ œ œ ™™ & ™™ bœ œ ™™ & ™™ œ ™™ & ™™ bœ œ bœ œœ œ œ œ ™™

Legato 48

b™™ >œ œ œ b>œœ œ œ ™™

49 b œ œ & ™™ - œ- œ bœ b-œ œ ™™ & -

-œ b -œ b™™ œ -œ -œ œ b-œ ™™ 50 ™™ œ bœ œ œ ™™ 51 ™™ bœ bœ œ ™™ 52 ™™ œ bœ œ ™™ & & œ & œ continue legato

bœ œ œ œ 54 55 57 œ œ 56 j œ œ œ > > œ œ œ ™™ ™™ & ™™ œ bœ œ ™™ & ™™ & ™™ œ ™™ & ™™ J ™™ & ™™ œ

& ™™ œ

œ ™™ & ™™ œ

œ ™™ & ™™

œ J

™™ & ™™

œ J

™™ & ™™

j œ

™™

Repeat final cell (#62) in different octaves until all instruments arrive, then drop out individually.

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

Score in Eb

Quaver open score for 4 or more instruments Jordan Nobles

Driving e = 200+ Repeat each cell for 5-10 seconds, in any octave 1

& ™™ o

-œ J

™™ & ™™ o o

-œ J mf

-œ J

™™ & ™™ ™™ & ™™ o continue dynamic swells

-œ J

™™ & ™™

-œ J

™™

-œ #-œ 7 -œ -œ ™ 8 ™ œ ™ 9 ™ œ #œ ™ 10 ™ œ #œ ™ ™ ™ ™ ™ & ™ ™ & ™œ ™ & ™ ™ & ™ ™ & ™ continue legato

>œ 13 œ 12 # œ # œ œ œ œ œ 14 œ œ 15 # œ # œ #œ #œ œ ™ ™ ™ ™ ™ ™ ™ ™ # œ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ & & & & &

& ™™

# œœ #œ #œ œ

œ 17 18 19 œ 20 ™™ & ™™ #œ >œ #œ œ ™™ & ™™ #œ #œ œ #œ ™™ & ™™ œ œ #œ ™™ & ™™ #œ #œ œ ™™

>œ #œ #œ œ #œ ™™ ™ ™ & & ™™

# œ œ #œ

#œ œ #>œ ™ 23 ™ #œ >œ œ #>œ ™ 24 ™ #œ œ œ #>œ ™ ™ & ™ ™ #œ ™ & ™

œ # œ œ 26 #œ #œ œ œ œ 27 28 # œ # œ # œ # œ #œ œ ™ ™™ & ™™ ™ ™ & ™™ œ #œ œ ™™ & ™™ #œ #œ #œ ™ & ™ œ #œ œ #œ ™

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

2 Score in Eb

b œ bœ b œ œ 31 32 > b œ œ bœ bœ œ œ œ bœ ™™ bœ bœbœ ™™ & ™™ bœ bœ œ œ bœbœ œ ™™ & ™™ bœbœ bœ œ œ œ œ ™™ & ™™ & ™™

Staccato 34 35 36 b œ œ bœ 37 bœ b œ œ b œ b œ b œ ™™ & ™™ ™™ & ™™ bœ. œ. . œ. œ. ™™ & ™™ . œ. bœ. bœ. œ. ™™ & ™™ œ œ bœ b >œ œ ™™ & ™™

continue staccato

bb>œœ œ œ ™™ ™™

>œ 40 41 42 œ œ œ œ b œ b œ œ œ œ ™™ & ™™ œ bœ œ œ œ ™™ & ™™ œ ™™ & ™™ bœ œ œ œœ œ œ ™™ & ™™ > >

44 45 46 47 b œ b œ œ œ œ ™ œ œ ™ ™ ™ ™ œ ™ ™ ™ bœ ™ & ™ œ ™ & ™ bœ ™ & ™ œ ™ & ™™ bœ œ bœ œœ œ œ ™™ & ™ œ

Legato

-œ - -œ b -œ -œ 49 -œ -œ b œ œ œ 52 bœ œ 50 51 œ œ ™™ & ™™ œ ™™ & ™™ b-œ -œ œ œ- œ ™™ & ™™ œ bœ œ œ ™™ & ™™ ™™ & ™™ œ -œ bœ - -

continue legato

œ & ™™ J

œ 55 56 œ J œ ™™ & ™™ ™™ & ™™ œ œ ™™ & œ 54

59 58

œ œ & ™™ œ

™™ & ™™

>œ œ œ >œ œ 57 ™™ ™™ & ™™ œ œ œ œ œ ™™

œ J

™™ & ™™

j œ

™™ & ™™

j œ

™™

Repeat final cell (#62) in different octaves until all instruments arrive, then drop out individually.

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

Score in G

Quaver open score for 4 or more instruments Jordan Nobles

Driving e = 200+ Repeat each cell for 5-10 seconds, in any octave 1

j ™ ™ b œ & o mf

™™ & ™™ o o

-œ J mf

4 b œ ™™ & ™™ J ™™ & ™™ o continue dynamic swells

-œ J

™™ & ™™

-œ J

™™

10 -œ -œ ™ 7 ™ -œ - ™ 8 ™ bœ ™ 9 ™ œ œ ™ b œ ™ ™ ™ b œ b œ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ & & & œ & &

continue legato

>œ 13 b œ 12 14 15 œ œ œ œ œ œ œ œ ™™ & ™™ ™™ & ™™ bœ ™™ & ™™ œ bœ ™™ & ™™ œ œ œ ™™ & ™™

18 19 œœ œ œ œ 17 œ ™ 20 ™ œ œ œ ™ œ œ ™ ™ ™ œ ™ ™ œ ™ ™ œ ™ & ™œ> œ œ ™ & ™ œ œ ™ & ™œ ™ & ™œ ™ & ™

22 24 œ œ œ > 23 œ œ> œ œ ™ œ ™ ™ œ ™ ™ œ ™ ™ œ œ ™™ > œ ™ & ™ œ > œ >œ ™ & ™ ™ & ™ & ™œœœ œ

œ œ œ 28 œ œ 26 27 œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ ™™ ™™ & ™™ œ ™™ & ™™ œ & ™™ œ #œ œ ™™ & ™™

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com

2 Score in G 29

31 32 œ œ 30 œ œ #œ œ # œ œ œ œ ™ ™ ™ ™ ™ # œ ™ ™ œ #œ œ ™™ ™ & ™œ #œ œ œœ œ œ ™ & ™ œ œ œ œ œ ™ & ™ & ™œ œ > #œ

Staccato

. . œ. . #œ. 34 # œ & ™™ #œ œ ™™ &

>œ œ 36 37 œ. #œ. #œ. œ. . 35 # œ œ œ ™™ #œ ™™ & ™™ #œ #œ ™™ & ™™ #œ œ ™™ & ™™ œ #œ #œ ™™ continue staccato

>œ 39 40 41 42 > # œ # œ œ ™™ & ™™ œ ™™ & ™™ œ #œ œ œ #œ œ ™™ & & ™™ #œ œ œ ™™ & ™™# œ # œ œ #œ œ œ

>œ œ > # œ œ # œ ™™ # œ œ ™™

b œ 45 46 47 bœ b œœ œ œ ™ b œ b œ ™ b œ ™ ™ ™ ™ ™ ™ b œ ™ ™ b œ bœ ™ ™ & ™ bœ bœ ™ & ™ bœ ™ & ™ & ™ bœ bœ œ bœ œ ™ & ™

Legato

bœ 50 51 52 -œ - b-œ b-œ b-œ 49 b œ b œ b œ b œ b œ b œ b œ ™™ bœ ™™ & ™™bœ & ™™ bœb-œ b-œ ™™ & ™™b-œ -œ bœ bœ- bœ ™™ & ™™bœbœ bœœ ™™ & ™™ - -

continue legato

b œ 55 b œ œ b œ 56 > bœ œ > b œ 57 bœ œ ™™ & ™™ œ œ ™™ & ™™ œ bœ œ bœ ™™ & ™™ œJ ™™ & ™™ J ™™ & ™™ œ

59 58

bœ & ™™ bœ

™™ & ™™ œ

60 œ ™™ & ™™ bœJ

61 ™™ & ™™ œJ

™™ & ™™

j bœ

™™

Repeat final cell (#62) in different octaves until all instruments arrive, then drop out individually.

Quaver @ Jordan Nobles, Vancouver, 1996 www.jordannobles.com